BRIT Trust and Festival Republic back Music Support and Safe Tent initiative
Music Support, the UK charity that provides help and support for music people suffering from addiction or mental health issues, has won the backing of the BRIT Trust, which is contributing towards both the organisation's day-to-day running costs and a new Safe Tent initiative being run with Live Nation at a number of this year's summer festivals.

Music Support was launched last year by music industry veterans Matt Thomas and Andy Franks along with Mark Richardson and Johan Sorensen. The charity explains that it "provides a 24/7 telephone helpline staffed by trained volunteers who have personal experience of issues within the industry and can offer help and support as someone who has been there and understands. They are also able to signpost pathways to clinical help if needed".

The organisation also promotes good mental health practices across the music industry, and has contributed to CMU Insights sessions on mental health and addiction at The Great Escape, and helped to produce the MMF's mental health guide.

The Safe Tents initiative will see the charity have a presence at a number of music festivals this summer in a space that will provide "places of refuge for people working at the event who need a break from intense backstage pressures and demands in a stimulant-free environment". Backed by Live Nation and its Festival Republic division, the Safe Tents will be staffed by Music Support volunteers.

The BRIT Trust is the charitable arm of UK record industry trade group the BPI and it distributes funds raised by the BRIT Awards.

Confirming its backing for Music Support, the Trust's Chairman John Craig said: "People are thankfully far more aware of the life-inhibiting problems that mental health issues and addictions can cause - not just to the individuals concerned, but to loved ones, work colleagues and across society at large. But we need action as well as words, which is why we're delighted to give BRIT Trust backing to Music Support and the valuable work it is pioneering, including with Safe Tents, to help those in our industry who may be quietly suffering and we need to reach out to".

Festival Republic MD Melvin Benn has also spoken about his company's support of the Safe Tents initiative. "Sometimes things are almost too obvious to notice and the need for Music Support in the music industry and Music Support Safe Tents at many of the high pressured backstage environments at festivals are examples of those unnoticed needs", he observed. "We take our hats off to the small group of people who have stood up to those pressures to provide Music Support, and Festival Republic and Live Nation are honoured to be working with and supporting them on the provision of Safe Tents at most of our high profile events this year and in the future".

Commenting on the industry backing for Music Support, co-founder Thomas said: "Like the rest of society and other creative sectors, issues relating to addiction and mental health are a concern for the music industry. Although awareness has improved, stresses and anxieties can be experienced by artists and employees alike, and are particularly felt in the live sector, where relentless touring and unsociable hours can take their toll".

He went on: "We recognise too that emerging talent may sometimes find it hard to adjust to the demands of new-found fame, while more established musicians can find it a challenge to adapt to changes in their careers. It's our hope that in time we can reach out to all parts of the music community - artists, crew and industry employees - where our support is needed, and help make a difference".

Meanwhile co-founder Andy Franks, a tour manager by trade, added about the Safe Tents programme: "When you are at a festival, it is often hard to find a quiet place away from the mayhem, or to escape off-site. The Music Support Safe Tent offers a space to be quiet, or to be amongst others who also want to discuss or share their recovery and knowledge. It is a place for people to come together for a common good. We are incredibly grateful to Festival Republic, Live Nation and The BRIT Trust for their faith and commitment".

BACK TO THE TOP OF THE BULLETIN

YouTube star charged for coercing teenage fans into sending explicit videos
Austin Jones, who built a sizable fanbase performing both original songs and covers on YouTube, has been charged in his hometown of Chicago over allegations he coerced two underage female fans into sending him sexually explicit videos.

The 24 year old singer has more than 500,000 subscribers on his YouTube channel and some of his videos have topped a million views.

According to a criminal complaint unsealed yesterday, Jones allegedly had online conversations with two fourteen year old girls in which he encouraged them to send him sexually explicit videos in order to "prove" they were his biggest fan.

The legal papers also allege that he wrote to one of his victims: "I'm just trying to help you! I know you're trying your hardest to prove you're my biggest fan. And I don't want to have to find someone else".

Jones was arrested on Monday evening after landing at O'Hare International Airport in Chicago, and was subsequently charged with two felony counts of 'production of child pornography', each of which carry a mandatory minimum sentence of fifteen years in jail if he is found guilty.

YouTuber Jones previously courted controversy two years ago when he encouraged his young fans to send videos of themselves 'twerking' after Miley Cyrus made the suggestive dance move briefly popular.

After a barrage of online criticism, Jones posted a lengthy apology on YouTube. He subsequently took a hiatus from social media and spoke of the pressure he felt after receiving death threats in relation to the controversy. His career had taken off again of late though, and he had just completed a European tour prior to his arrest.

--------------------------------------------------

Movie and TV industries launch global anti-piracy group
The worldwide movie and TV industries yesterday formed a new global coalition to campaign against online piracy. The coalition brings together 30 major movie studios and TV networks with a plan to speak out on piracy issues on a global basis alongside national trade bodies and anti-piracy groups. In the movie space, often the Motion Picture Association Of America has spoken out on copyright issues around the world, rather than an organisation with a specifically global focus.

The new organisation is called the Alliance For Creativity And Entertainment and counts among its membership all of the following: Amazon, AMC Networks, BBC Worldwide, Bell Media, Canal+ Group, CBS Corporation, Constantin Film, Foxtel, Grupo Globo, HBO, Hulu, Lionsgate, MGM, Millennium Media, NBCUniversal, Netflix, Paramount Pictures, SF Studios, Sky, Sony Pictures Entertainment, Star India, Studio Babelsberg, STX Entertainment, Telemundo, Televisa, Twentieth Century Fox, Univision Communications, Village Roadshow, The Walt Disney Company, and Warner Bros Entertainment.

The new organisation said in a statement: "As more creative content moves online, piracy poses a continuing threat to creators, consumers and the economy. Films and television shows can often be found on pirate sites within days - and in many cases hours - of release. Last year there were an estimated 5.4 billion downloads of pirated wide-release films and primetime television and VOD shows using peer-to-peer protocols worldwide. There were also an estimated 21.4 billion total visits to streaming piracy sites worldwide across both desktops and mobile devices in 2016".

It went on: "By bringing together global creative companies producing all forms of content, ACE will expand ongoing, cooperative efforts to reduce the prevalence of online piracy. ACE will draw upon the global antipiracy resources of the Motion Picture Association Of America in concert with the internal antipiracy expertise of the ACE coalition members. Specifically, ACE will conduct research, work closely with law enforcement to curtail illegal pirate enterprises, file civil litigation, forge cooperative relationships with existing national content protection organisations, and pursue voluntary agreements with responsible parties across the internet ecosystem".

--------------------------------------------------

Propellerheads to pull ReBirth following legal claim from Roland
Music software company Propellerheads has announced the discontinuation of its ReBirth iPad app following a legal claim by instrument maker Roland.

Originally launched in 1996 as software for desktop computers, ReBirth is an emulator for Roland's TB-303 synthesizer and TR-808/TR-909 drum machines. Although previously discontinued in 2005, it was relaunched for the iPad in 2010.

In a statement this week, Propellerheads said: "We have decided to discontinue ReBirth for iPad. The decision comes after a statement from Roland that the product infringes on the company's intellectual property rights. Rather than refuting this claim, we have decided to honour our longstanding relationship with Roland Corporation and have, therefore, come to the conclusion that the best path forward is to discontinue the product".

Roland has previously turned a blind eye to ReBirth and other similar software and hardware, seemingly because - although popular in electronic music - the synthesizers they emulate were actually only in production for a short time in the 1980s. However, in recent years the company has launched new versions of the hardware that ReBirth mimics, which is likely the reason it is now cracking down on rivals.

Roland did not respond to a request for comment.

BACK TO THE TOP OF THE BULLETIN

ASCAP signs new deal with YouTube
Ah, YouTube. Bloody YouTube. You know what we should do about YouTube? Sign up to a new multi-year licensing deal, that's what.

US collecting society ASCAP yesterday announced that it had signed a new deal with the Google video site. The performing rights organisation said that the new arrangement included both better rates and commitments from YouTube to collaborate with ASCAP in a bid to ensure better data sharing and therefore more accurate royalty distribution.

As previously reported at length, a key problem with streaming royalties on the music publishing side is working out what songs are being used in any one track, and that's extra tricky with user-uploaded content.

ASCAP said yesterday that "the evolution of the agreement between the two entities leverages YouTube's data exchange and ASCAP's vast database of musical works to address the industry challenge of identifying songwriter, composer and publisher works on YouTube, and demonstrates ASCAP's commitment to building industry-leading data capabilities. This innovative collaboration will enable new levels of monetisation and transparency for ASCAP and its members".

Meanwhile ASCAP boss Elizabeth Matthews added: "This agreement achieves two important ASCAP goals - it will yield substantially higher overall compensation for our members from YouTube and will continue to propel ASCAP's ongoing transformation strategy to lead the industry toward more accurate and reliable data. The ultimate goal is to ensure that more money goes to the songwriters, composers and publishers whose creative works fuel the digital music economy".

YouTube's Chief Get Matey With Those Moaning Music Companies Officer Lyor Cohen added: "YouTube is dedicated to ensuring artists, publishers and songwriters are fairly compensated. As YouTube delivers more revenue to the music industry through a combination of subscription and advertising revenue, it's great to see ASCAP take a progressive approach towards the long term financial success of its members".

So hurrah for that. Though we are obligated under music industry law to remind you that, while this deal is obviously marvellous, YouTube is evil, it is single-handedly destroying the music-making process, and must be stopped.

BACK TO THE TOP OF THE BULLETIN

The Guardian to go tabloid
The Guardian and sister paper The Observer are to become tabloid-sized publications from next year as part of wide-ranging cost-cutting plans at the newspaper group.

When other UK broadsheets like The Times and The Independent went tabloid in the mid-2000s - partly because The Kids couldn't cope with all the paper that comes with the broadsheet format - The Guardian decided to opt for the Berliner size, half way between broadsheet and tabloid, because it looked kinda cool.

But that involved buying and running bespoke printing presses at a time when newspaper revenues were plummeting, as print sales went into steep decline and publishers struggled to generate revenue around their large online audiences.

Guardian Media Group will now offload its Berliner presses and instead pay Trinity Mirror to produce its printed editions as a good old tabloid, or "compact" as tabloid broadsheets like to say, given the content and style connotations that come with the word 'tabloid'.

GMG CEO David Pemsel said: "This is an important step in our three-year transformation plan. More people are reading and supporting our journalism than ever before, but the print industry continues to evolve, and we must evolve with it. We plan to continue the Guardian's record of producing bold, brilliantly designed award-winning journalism".

The paper's Editor Katharine Viner added: "The Berliner is a beautiful format which has served our readers brilliantly for twelve years but we know that it is our award-winning, quality, independent journalism that our readers value most, rather than the shape or the size of the newspapers. We are going to create a new-look tabloid Guardian and Observer that are bold, striking and beautiful - and which still contain the agenda-setting journalism for which we're renowned".

Although The Guardian has a vastly bigger audience online than ever did in print - even in the heyday of print newspapers - it, like all newspaper owners, has struggled to generate decent revenues via its website. To date The Guardian has resisted dabbling with a paywall and charging for access to its articles online, a route an increasing number of broadsheets are now going as newspaper publishers remain disappointed with the level of ad income.

BACK TO THE TOP OF THE BULLETIN

CMU@TGE 2017: The Crisis In Music Journalism
Look out for more reports throughout June on key sessions that took place at the CMU Insights conferences at The Great Escape last month. Today, part one of a session from the Media Conference titled The Crisis In Music Journalism.

The challenges facing music media in the digital age were put under the spotlight during the CMU Insights Media Conference at The Great Escape this year, with both commercial and editorial perspectives on offer.

Leading the latter was a panel of four leading music journalists - Laura Snapes, Emily Jupp, Greg Cochrane and Mark Savage - who discussed the challenges of pursuing a career in music journalism today, as well as the role of the review in the streaming age and whether or not the golden age of music writing was now over.

Between them the panel have worked for numerous titles. Snapes has had roles at both NME and Pitchfork and now freelances. Jupp was Music Editor at The Independent and now also freelances. Cochrane previously worked for both the BBC and NME, and now writes for Loud And Quiet and other publications. And Savage is a music reporter with the BBC.

While for media owners the key challenge today is how to generate revenue around online music journalism, for individual journalists the challenge is how to build a sustainable career when there are so few full-time music editorial roles on offer. Not to mention the fact that, online in particular, a not insignificant amount of music editorial is actually the result of unpaid work, with journalists eager for an audience writing for free.

"I do think there needs to come a point where you start getting paid for it", Snapes said, acknowledging that a lot of music journalists still produce at least some editorial for free. "And I don't know how I feel about publications that solely subsist on free labour, especially if they're pulling in money from advertising which isn't trickling back down to the writers".

Though, pretty much all music journalists admit, writing for free is how you get started. Jupp recalled the start of her career. While she had a paid role with newspaper The Independent, that was in social media. She wrote music content for the title for free in order to get her music journalism career off the ground. "I was doing it all for free", she said. "And I was even taking holidays from my paid job in order to do it for free!"

But she agrees with Snapes that, while working for free is how you get started, budding music journalists have to get to a point where they push for payment. "After two years of not having a holiday, I sort of thought it was time for the paper to recognise my commitment", she said of her own experience. She then managed to negotiate a wage for her music writing and subsequently became the paper's Music Editor.

"I think if you do just write for free and you feel like you're not getting anywhere with it, that's time to negotiate getting paid", she advised. "Because by that point, if you've proven yourself and done enough free work, the company should actually try to support you from that point. It did pay off for me eventually, but it was a struggle, and I don't think there is a solution to that. It's just a personal decision. If you feel like, 'OK, I've got enough skills now to actually be paid for this' that's the time to demand a salary".

Cochrane also began by writing about music for free, but equally felt that this provided the route to paid work. "I worked for free at the outset, but that was my chance to start building a portfolio so I could go to places like NME looking for paid work", he said. "I could go to the places that I aspired to write for, to work for, with something to offer and a portfolio that exhibited my skills".

Cochrane says he considers himself lucky because he found a paid job in music journalism fairly quickly, though he added that junior roles in music journalism aren't actually that well paid. "When I first started working in music journalism, once I'd taken the cost of my train ticket from where I was travelling from into London and bought my lunch, I had about £10 left every day", he said. "But I was 21 and I thought that was fine. That's what I felt I had to do to get started".

Some of those music writers writing for free aren't necessarily providing that free content to others of course, ie they are publishing it themselves via a blog. Blogging about music is another great way to get started, the panel reckoned, and a blog can also give a music journalist who is being paid elsewhere a place where they can write more freely about a wider range of topics, and continue to build their own profile.

Savage got into writing about music by starting his own blog. "Really, that's the only place I had to try to develop my own voice", he said. "And then when I started pitching stuff on spec to the BBC entertainment team, I had a style that I was writing in by then - I think it's hugely important for somebody who writes about entertainment to themselves be entertaining".

Of course, with music media owners struggling to generate revenue, writing for free the classic way into a career in music journalism, and so many people aspiring to be music journalists, that could result in a culture where more and more music publications are relying on free content.

Does that make it ever harder for those reaching the 'I ought to get paid now' point in their career? Is it even ethical for publications to ask people to work for nothing? Snapes said that it depended on what the publication's remit was, adding that she felt that there had been a shift in the last decade where some sites that began with an ethos of "team spirit, everybody mucking in together" had become more commercial operations but still don't pay writers.

Although insisting that "I really don't want to sound like one of those old men that bangs on about why people shouldn't work for free", Snapes seemed to suggest that freelance journalists eager to reach an audience should nevertheless consider the commercial set-up at a publication before committing to work for free, or for next to nothing.

"A friend told me recently that they had done a small feature for a big glossy fashion magazine, a really 'proper' looking one. I think they had to file about 1500 words and they got paid £30. You can see the fashion adverts that are in that magazine, and they add to a lot more than £30. I see discrepancies that I think are unaddressed".

She added that too many publications relying on free labour could also have a negative impact on the quality of the music journalism. And even with those titles that do pay everyone, most music media now operate on such tight resources, there often isn't the infrastructure in place to support a writer's professional development.

"One real problem is that even on publications that do have a full paid staff - staffs these days are quite skeletal, because they haven't got the resources to hire lots of people. And that means they haven't got the resources to develop the most junior members of staff to eventually teach them more skills, so they can become more accomplished members of staff and take higher positions".

All of the panel acknowledged that a big part of the problem is simply how hard it has become to make money out of music journalism, especially online, and that is a key reason for the skeletal staffs and reliance on unpaid work. In the recent CMU Insights music journalist survey, many of the writers surveyed said that subscriptions or simple banner advertising would be their preferred way of music media generating revenue, but most recognised that neither of these seemed like viable ways to stay in business today.

One possible solution is music media forming closer relations with consumer brands. Though how do the journalists feel about brands having an increased role in music journalism - as sponsors, or by working directly with artists, or by working with music publications to create so called branded content?

"I do find increasingly that I get offered interviews or content not by a PR for an artist but a PR for a brand that is taking that artist under their wing and therefore they want some kind of payback", Savage noted. "Of course we can't do that on the BBC, it's even crazy to ask! But it's clear to me that if we're being offered that, then everybody is being offered that. I do wonder how far away you are from accepting that deal to then offering the brand copy approval and all of those sorts of things".

It isn't necessarily a bad thing, countered Cochrane: "My desire has always been to be a journalist and editor that upholds integrity, and that can be about finding a real a balanced spot when you are working with external clients that want to achieve a commercial goal. I do think there are ways of doing that. When I was working for the BBC, the idea of that might have horrified me a bit, but it can be done in a legitimate way".

Snapes added: "By and large brand partnerships are made really obvious so you know it's a sponsored post or advertorial - 'in association with X', that kind of thing. Media consumers today are incredibly media literate and they know what to expect, they know the bargain that is being upheld here. However, sometimes lines are crossed".

"At the end of last year I wrote an article on the band The xx and I spent a number of days with them", she continued. "I thought it was going to be a normal article the whole time, but when it came out, it said 'sponsored by Mailchimp' on the side. And I thought, 'Well, I didn't see any of that money! Who did?'"

"This piece was nothing to do with Mailchimp, The xx are nothing to do with MailChimp, I wonder if they even knew about it", she went on. "It was very jarring to see that appear. Somebody else I know who did a piece about the 20th anniversary of 'OK Computer', that also happened to them and they were livid because the nature of 'OK Computer' was very anti that kind of thing. So I think when it's foregrounded, people know what to expect, but when it's sneaked in through the back door like that, it's a bit more muddled".

In part two of our report on 'The Crisis In Music Journalism' we find out what the panel felt about the role of the review in the streaming era, and whether or not the golden age of music journalism is now dead.

check out all the reports and resources CMU has published around this year’s CMU Insights @ The Great Escape conferences here.

BACK TO THE TOP OF THE BULLETIN

New PWR BTTM manager questions speed with which deals were revoked
PWR BTTM's new manager Lisa Barbaris has questioned the speed with which her predecessors at Salty Artist Management, as well as various record labels, dropped the duo following sexual assault allegations made against one member. They are now working to return their music to download and streaming services in the US.

As previously reported, PWR BTTM were dropped by their management, and their record labels in the US and UK, after sexual assault allegations against the duo's Ben Hopkins emerged last month. In the US, this meant their music being withdrawn from sale entirely. Although this all took place in a matter of days, no criminal charges have yet been brought against Hopkins and he denies the accusations.

With new management and legal representation in place, the duo have managed to regain the rights to their debut album, 'Ugly Cherries', from Father/Daughter Records. Although the follow-up, 'Pageant', which was released by Polyvinyl just before their various deals were rescinded, remains offline.

Speaking to Billboard, Barbaris said that she had not been aware of the band previously, "but to see Polyvinyl derail and potentially destroy the band's career in such an impulsive manner is very troubling. I've never seen a label respond in such an irresponsible way in the 30-plus years I've been in the music business".

"We're happy 'Ugly Cherries' is available again and thankful to Father/Daughter Records for their co-operation in transferring the record's distribution rights to PWR BTTM", she added. "We hope we will be able to reach an arrangement with Polyvinyl that satisfies their needs as a business and allows listeners to access PWR BTTM's music".

The band's new lawyer Jeffrey Koenig added: "PWR BTTM put a tremendous amount of time, effort, love and resources into creating and recording the body of work that would eventually become 'Pageant'. It is important that their former label allows their fans to hear this album".

In a statement to Billboard, Polyvinyl said: "Polyvinyl has been in contact with PWR BTTM's team to work out a separation, and is waiting for details necessary to make that happen. Polyvinyl wishes to make the transition as easy as possible and has no desire to prevent the band from releasing 'Pageant' once an agreement has been reached".

BACK TO THE TOP OF THE BULLETIN

Partisan Records, Girls I Rate, The Cribs, more

Other notable announcements and developments today...

• US-based Partisan Records has hired Zena White as MD. She will head up both Partisan and its sister company Knitting Factory Records, reporting into founder Tim Putnam. Initially based in the firm's London office, White will re-locate to New York later this year.

• The Girls I Rate initiative, a movement to support and champion women working in the arts founded by songwriter Marie Williams, will hold a fund-raising Summer Soiree at London's Temple Pier on 21 Jun with Emeli Sande, Lily Allen and Wiley among those set to be in attendance.

• The Cribs have put out a new song, 'In Your Palace'. So now you know.

• Who else is back? The Horrors are back, that's who. Here's their new song that they wrote called 'Machine'.

• Former Red Hot Chili Peppers guitarist John Frusciante will release his second acid house album under the name Trickfinger, 'Trickfinger II', on 8 Sep.

• Toro Y Moi will release new album 'Boo Boo' on 7 Jul. Here's first single 'Girl Like You'.

• 6lack has released a new single out of the blue, 'That Far'.

• Daphni, aka Caribou, will play the launch party of his 'Fabriclive' compilation at Fabric on 21 Jul. From the record, which is out the same day, this is 'Tin'.

• Bonnie 'Prince' Billy will play a one-off show at Union Chapel in London on 27 Jul.

• Pom Poko have announced a three night tour of London, play the Sebright Arms, Thousand Island and The Old Blue Last on 19-21 Sep.

BACK TO THE TOP OF THE BULLETIN

Lars Ulrich is a knight now
Lars Ulrich is now a knight. In Denmark. Because the UK isn't the only country that operates daft honour systems of this kind.

The Danish born Metallica drummer is now a knight of the Order Of Dannebrog. That's the second highest order in Denmark, after the Order Of The Elephant. Look at us learning! Wearing the 'ridderkorset', or Knight's Cross, Ulrich is entitled to 10% off in Boots and an extra hour in bed on Tuesdays. Possibly.

A spokesperson for Metallica confirmed the news to CMU this morning, saying: "Yes it's true! Lars has been given the Knight's Cross of the Dannebrog Order in Denmark. Arise Sir Ulrich!"

According to Danish media reports, Ulrich actually received his badge last month, although it has only been officially announced now.

BACK TO THE TOP OF THE BULLETIN