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INFORMATION
Classifieds
CMU Info
TODAY'S NEWS
Top Stories
YouTube win Viacom legal battle
Jacko cash, where it's from, where it's going
MPG open up digital credits debate to wider record industry
In The Pop Courts
Ramones drummer sues over unpaid royalties
In The Pop Hospital
Perry needs seventeen stitches after party fall
Awards & Contests
Kerrang! Award noms out
REM and Tupac added to US Congress's recordings library
Reunions & Splits
Cast to reform
Bush reform for new album
Soundgarden announce new song
In The Studio
Lady Gaga completes second album
Gigs & Tours News
Robyn announced UK tour dates
Brands & Stuff
BRMB become official radio station of Birmingham arenas
The Music Business
IFPI ask Google to remove Pirate Bay links
UK's biggest vinyl piracy factory busted?
The Digital Business
Tunecore secures Spotify deal
Osborne abolishes phone tax
And finally...
Courtney Love stabbed Kurt's balls


 
THURSDAY 24TH JUNE
HERE WE GO MAGIC
Originally a solo side-project for folk singer Luke Temple, Here We Go Magic expanded into a fully fledged band following the release of 2009's eponymous debut album. They then went on to tour with Grizzly Bear and The Walkmen, and have just completed tours in the US and Europe with White Rabbits and The New Pornographers. They'll be back in the UK again for the next few weeks, including performances at Glastonbury and Hard Rock Calling this weekend. Having just released their second album 'Pigeons' via Secretly Canadian, we spoke to bassist Jen Turner to ask the Same Six.

 
Q1 How did you start out making music?
I started when I was very small. I was kind of obsessed - I would refuse to leave the neighbours house every day because they had a piano. Finally my parents conceded and bought me a stand-up piano of my own, a white one with knobby keys. It was my very first love. I would take the backs of cereal boxes and circle the letters that corresponded to the keyboard. If it was the first or last letter of the word then I would play the black key next to it. I guess it was a flat, unless it was a C or an F. Then it was a sharp. I would make up little songs and use that as the sheet music. I don't remember anyone being very impressed with that music. And I think the healthy cereals produced the best songs, much to my dismay.

Q2 What inspired your latest album?
Beavers, beaver houses, foxes, fox houses, and trout. And smoked trout. We all lived on a river in the middle of nowhere, at the end of a road. The house next door was literally a fox house. The people had an extra house and they kept all their foxes in it. They used to howl and cry at night. There was one white fox with blue eyes that limped. She was my favourite. Peter [Hale, drums] would go out to the guy who smoked his own food and bring home smoked trout. We worked in the living room right next to the kitchen. I was engineering and my mouth would water as I rolled tape and imagined all the wonderful things they were eating in the kitchen. We almost named the record 'Dinner' because we all looked forward to dinner together every night.

Q3 What process do you go through in creating an album?
Well, in the beginning it was kind of hard - we tried first to record the songs we had already been playing live. That proved to be uninspiring, so we quickly shifted to working on new material. Luke would wake up and put together a loose idea of a song on acoustic guitar. We would all play it together and shape it, and then decide how it was going to be recorded best. Lots of times we'd use the four track as pres and hit the tape really hard with the drums. I love that sound. We had a Toft board and a Tascam 38 1/2" reel-to-reel. The only outboard gear we used was a space echo and the four track! Oh, and something called The Brick, which we used primarily on bass.

I was really proud of how 'Collector' and 'Surprise' came out, they were the first ones that were recorded fully live - I was so nervous! - and I feel like something very special was captured. The guitar amps upstairs in the bathroom and the bedroom, Luke in the downstairs bathroom, Teen [Kristina Lieberson, keyboards] going direct, me going through The Brick, and Pete just slamming away in the middle of it all. It was like magic - we listened back and I couldn't believe it.

Q4 Which artists influence your work?
All sorts - it's really difficult to say. We were listening to a lot of stuff... R Stevie Moore, Brian Eno, Kurt Vile, Can, Arthur Russell... umm... Kraftwerk... We had a bunch of mixes from Ethiopia that were pretty awesome, super inspiring... I don't know. It's hard to recall everything that we were listening to.

Q5 What would you say to someone experiencing your music for the first time?
I suppose it would depend on their reaction. I really really love the music, so much, so there's not much to say.

Q6 What are your ambitions for your latest album, and for the future?
I think our favorite thing is to play live. We shape each show differently. It's incredibly spontaneous every night. Some nights are better than others, but that's the risk you take when you put yourself out there. I personally would love to be constantly touring and creating psychedelic and inspiring shows all the time, so that people can really have an experience with the music. As far as recording, I think we'd like to keep making music in different locations, drawing from a different well each time. This is my very favorite band I've ever played in.

MORE>> herewegomagicband.tumblr.com

 
BRETON
Breton's base is a warehouse in south east London, where they write music and make films. The music is a blend of electro, post-punk, art-rock, hip hop and more besides. Although the songs are recognisably Breton, each seems to have been approached as a standalone piece. The progression of their sound is not necessarily dictated by what they have done before.

 
It's not all making music and shooting films down at the Breton warehouse, though. Some of their time is spent building circuitry. Or at least it has been recently. New EP, 'Sharing Notes' is due for release via youWILLBEfollowing on 5 Jul and a very limited number of physical copies will come mounted on a circuit board, which (using the components and instructions provided) can be turned into a fully working synth.

Watch that happen right in front of your eyes in the video for EP track '15X' and then head to the band's SoundCloud profile for more.

vimeo.com/12456684
soundcloud.com/bretonLABS


 
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YOUTUBE WIN VIACOM LEGAL BATTLE
Well, that ended quicker than we expected. YouTube yesterday won its legal battle against Viacom when a US judge issued a summary judgment in the web firm's favour in the two companies' long running copyright infringement dispute.

As much previously reported, MTV owners Viacom sued YouTube and its parent company Google in March 2007, arguing that the video sharing website, both before and after is acquisition by the web giant, had deliberately turned a blind eye to users uploading content that infringed Viacom's copyrights, because the presence of such content generated much of the video site's traffic.

Viacom wasn't the only content owner to threaten legal action as YouTube became one of the biggest sites on the web in 2005, filled, as it was, at the time, with huge amounts of copyright infringing uploads. But most content owners negotiated licensing deals with YouTube and Google, getting a cut of any advertising revenue generated by their content.

Viacom chose not do a deal. Some argued that was because the music-video-filled YouTube was such a big threat to MTV, the media firm deciding it would rather see its upstart rival go offline than go into business with them. Others subsequently argued that Viacom was pissed off with Google's purchase of YouTube, because it had been considering bidding for the video site itself.

Either way, from the start YouTube argued it operated a take-down system under which it would remove any copyright infringing content once they were alerted to it by the relevant copyright owners. That, it claimed, meant it was protected by safe harbour clauses in America's Digital Millennium Copyright Act, which protect responsible web firms which inadvertently host infringing content files for a short time.

Viacom argued that YouTube's take-down system put too much onus on the content owners, who now had to monitor the YouTube platform for any infringement of their copyrights at their own expense, while the video site profited from any traffic generated by infringing videos between upload and take-down. Viacom's legal team argued this can't have been the intention of the DMCA. They also alleged that in its early days, YouTube only paid lip service to its take-down obligations under the DMCA, because it knew it was infringing videos that were generating most traffic.

The Viacom v YouTube litigation wasn't the only lawsuit that tested the obligations of video sharing websites under the DMCA, though it was the most high profile. Earlier cases, including one involving Universal Music and Veoh, saw judgments generally side with YouTube's interpretation of the safe harbour clauses in the US copyright act.

But Viacom hoped that internal documents from the early days of YouTube that suggested top execs at the company were being deliberately slow in taking down infringing content - and that one was uploading infringing content himself - would aid their case. It also made the lawsuit relate exclusively to YouTube's operations prior to 2008, recognising that subsequent refinements of the video site's take-down system did overcome some of the issues they had originally raised.

But in a summary judgment issued this week, and linked to by Google's General Counsel yesterday on the company's blog, the US courts decided that YouTube was indeed protected by the DMCA safe harbour provisions and could not be held liable for any copyright infringing content that has appeared on the video sharing website at any point in its history. The judgment says that [a] YouTube has always followed the process demanded by the DMCA regarding removing infringing content and that [b] the fact it had quickly removed about 100,000 of Viacom's videos proved the DMCA's take-down system works.

Needless to say, Google welcomed the ruling. In his aforementioned blog post, General Counsel Kent Walker wrote: "This is an important victory not just for us, but also for the billions of people around the world who use the web to communicate and share experiences with each other. The decision follows established judicial consensus that online services like YouTube are protected when they work cooperatively with copyright holders to help them manage their rights online".

Equally needless to say, Viacom was less impressed with the judgement. Vowing to appeal the ruling, their General Counsel Michael Fricklas told the AFP: "Copyright protection is essential to the survival of creative industries. It is and should be illegal for companies to build their businesses with creative material they have stolen from others. This case has always been about whether intentional theft of copyrighted works is permitted under existing law and we always knew that the critical underlying issue would need to be addressed by courts at the appellate levels. Today's decision accelerates our opportunity to do so".

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JACKO CASH, WHERE IT'S FROM, WHERE IT'S GOING
As the first anniversary of Michael Jackson's death arrives tomorrow, there has been a lot of reportage this week about the value of the late king of pop's legacy, and how the Jacko brand - tarnished for so many years prior to his death - has enjoyed a full-on renaissance, and a profitable one at that.

The Jackson estate has generated hundreds of millions of dollars in the twelve months since the pop star's premature demise (estimates of exactly how much vary, but some reckon, if you include all recording and publishing royalties, close to a billion). A new record deal with Sony, the 'This Is It' movie, numerous merchandise deals, and the previously reported Jacko-themed video game and Cirque du Soleil shows have all helped bring in the money, and transform the Jacko business - on a very unstable footing a the time of his death - into one of the most profitable in the entertainment industry.

In an interesting article in the New York Times, Ben Sisario asks how the transformation in the Jacko brand was achieved and whether, once the initial buzz has calmed down, the Jackson legacy will be more profitable in the long term than that other big dead pop earner, Elvis Presley.

On the first question, Sisario quotes the man in charge of that Elvis legacy, CKX's Robert FX Sillerman, who is full of praise for John Branca and John McClain, the lawyer and music business man who have overseen the management of the Jackson estate. He says: "What they've done brilliantly is that they've taken advantage of the emotion surrounding the tragic and unexpected passing of Michael Jackson, and done it in a way that's tasteful yet profitable, and that's challenging". (Step 1: Don't refer to it as "taking advantage of the emotion").

In an interview earlier this week, Branca said he felt the 'This Is It' film had played its role in rehabilitating the Jacko brand, by showing the late singer not as an "out-of-control eccentric" but as "the ultimate artist, the ultimate perfectionist" and as someone "respectful of other people".

Though David Reeder, who works with the estates of Johnny Cash and Steve McQueen through his GreenLight company, says that Branca and McClain have, in the main, capitalised on a natural tendency for consumers to remember the good rather than the bad about Jacko's career once he was dead. He told the Times: "His sainthood began the moment that he died. That's been beneficial for the estate. They haven't had to overcome a lot of obstacles that might have made him less desirable commercially".

Some reckon that even though the profitability of the Jackson brand will, inevitably, decline in the coming years, he could still remain as the most profitable dead celebrity long term. Though not everyone agrees he will surpass Elvis. Music biz commentator Bob Lefsetz writes: "It's not like Elvis. There's not much music. There's one and a half albums there, somewhere between 'Off the Wall' and 'Bad,' and I think it ultimately fades out".

You can read the full New York Times piece here: www.nytimes.com/2010/06/23/arts/music/23jackson.html

In related news, and despite all that cash coming in to the Jacko pot, a Canadian business man called Howard Mann says that Jackson's mother Katherine, guardian of his three children and a key beneficiary from the estate, isn't seeing huge amounts of cash flying into her bank account as yet. Much of the money that has actually reached the estate's coffers so far has, it seems, been used to pay off Jackson's famously mounting debts (estimated to be in the region of half a billion by the time of his death), and to settle various lawsuits that had been filed against the singer in the months and years prior to his passing.

Mann has been working with Katherine on a new Michael Jackson picture book called 'Never Can Say Goodbye: The Katherine Jackson Archives'. Responding to rumours that the Jackson matriarch had received a record breaking advance from the book's publishers, Mann told E!: "[She has] a deal more lucrative than any other author signed to a publishing deal before. [But] the reality is that after having met her and spent time with her, she is not raking in the money, because the estate really has to service a tremendous amount of debt. I am sure the trustees and administrators are required to pay that first and foremost, and it just hasn't led to a substantial cash position for Katherine".

If Katherine is short of some pennies while the Jacko estate sorts out the late singer's many debts, perhaps Mann could help Mrs Jackson out himself. According to US gossip man Roger Friedman, Mann has in his possession 273 master recordings featuring previously unreleased Jackson recordings. He apparently got the recordings when he bought the contents of a warehouse owned by the Jackson family, possibly as a result of one of the Jackson clan's bankruptcies. According to Friedman, Mann reckons the recordings were made when Jacko was between his Motown and Epic deals, so neither record companies would have a claim to them, meaning he, as owner, could cash in. Remains to be seen if he ever does.

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MPG OPEN UP DIGITAL CREDITS DEBATE TO WIDER RECORD INDUSTRY
The Music Producers Guild is launching a campaign called Credit Where Credit's Due which is calling on the record industry to set up a standard database for filing production credits and information for all album releases, and to then make that database available to digital music services so said information can be provided as metadata on download and streaming platforms.

The campaign follows a recent debate among the producer community on the MPG's website about the fact that, in the digital age, where album sleeves and liner notes have generally been phased out, those involved in the sound recording process are no longer actively credited for their work on records. Other trivia, such as which studios were used for recording an album, are also harder to find. The MPG thinks some sort of new data service is needed so those working behind the scenes on records are still credited.

In a statement announcing the campaign, the MPG says: "Actively crediting contributor's inspiration and hard work is standard across all forms of the creative spectrum from movies to art galleries. Why, then, has the collective music business let this slide? Blackberrys and iPhones have technology that can help you find your car, keep tabs on your bank balance or check how straight your shelves are. Yet we don't know the name of the musician shredding
the guitar solo you happen to be listening to".

Producer and MPG director Tommy D told CMU: "Credit information needs to be incorporated into the listening experience and made accessible for those that wish to know it, need it, account to it and, most importantly, be inspired by it. We should be proud of the work we do and ensure our names are proudly attached to that work. If we're not, who will be?"

Fellow MPG director Mick Glossop, meanwhile, said recording studios should also get involved in any credit database project, so that artists self-releasing their own recordings are encouraged to document who is involved in their studio work.

He told CMU: "Archiving is the responsibility of the recording copyright holder, and this has traditionally been the record companies. However, many artists are now DIY, and are record companies themselves. Most artists will have no knowledge of these issues, and archiving will not have even appeared on their radar. There's a business opportunity here for recording studios which have archiving facilities to offer this service to DIY artists who run their own record companies".

As a first stage of their campaign, the MPG has set up a special website and are inviting all interested parties, including artists, labels, publishers and music fans as well as producers to join the debate. The website is at www.creditisdue-mpg.co.uk

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RAMONES DRUMMER SUES OVER UNPAID ROYALTIES
Former Ramones drummer Marky Ramone, real name Marc Bell, who was with the band from 1978 to 1983 and then again from 1987 to 1996 has launched a lawsuit over unpaid royalties he claims have been withheld from him over the last two years.

In documents filed at the New York Supreme Court on Monday, Bell says that he signed a new contract in 2005 relating to his share of the band's royalties, but that payments stopped in 2008. He claims that those in charge of distributing the money have been pocketing it for themselves.

As well as the outstanding $175,000 he says remains unpaid, he is also seeking over a million dollars in damages.

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PERRY NEEDS SEVENTEEN STITCHES AFTER PARTY FALL
Katy Perry had to have seventeen stitches earlier this week after falling over at an after-show party following the MuchMusic Video Awards, which took place in Canada on Sunday night.

Ahead of a gig in Toronto earlier this week, Perry warned the fall might mean her performance wasn't quite up to scratch. She tweeted: "Seventeen stitches later... Don't make fun of my dance moves tomorrow. That's what got me here in the first place! Thanks for the souvenir, Canada!"

After wearing a bandage at said gig, she later posted on her Twitter feed: "Thinking about getting a candy cane walker made".

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KERRANG! AWARD NOMS OUT
Kerrang! has announced the nominations for its annual awards ceremony. Scoring big in the list this year are the likes of Paramore, Green Day, 30 Seconds To Mars, Lostprophets and Bullet For My Valentine. Though we're mainly excited to see hardcore types Throats up for Best British Newcomer.

Slightly more excited about the nominations as a whole, the magazine's editor Nichola Browne told CMU: "The competition is now getting tough! US superstars Paramore, Green Day, Metallica and 30 Seconds To Mars are going head to head with the biggest and best homegrown talent, namely Lostprophets, Bullet For My Valentine, You Me At Six and Biffy Clyro".

Public voting is now open in all categories, ahead of the awards ceremony in London on 29 Jul, which will this year again be hosted by Anthrax guitarist Scott Ian and Slipknot frontman Corey Taylor.

Says Ian: "I am really excited, actually super excited to be back again for my fourth year hosting the Kerrang! Awards. And like last year, I get to share the good time with my stylish friend Corey Taylor. Next to my birthday, it's the biggest party of the year!"

And the nominees are:

Best International Band: 30 Seconds To Mars, Avenged Sevenfold, Green Day, Metallica, Paramore

Best British Band: Bullet For My Valentine, Enter Shikari, The King Blues, Lostprophets, You Me At Six

Best International Newcomer: Dommin, Framing Hanley, Halestorm, The Swellers, Trash Talk

Best British Newcomer: Deaf Havana, General Fiasco, Out Of Sight, Rise To Remain, Throats

Best Single: Avenged Sevenfold - Nightmare, The Blackout - Save Ourselves (The Warning),
Four Year Strong - Wasting Time (Eternal Summer), Slipknot - Snuff, You Me At Six - Liquid Confidence

Best Video: 30 Seconds To Mars - Kings And Queens, Biffy Clyro - The Captain,
Cancer Bats - Sabotage, Lostprophets - It's Not The End Of The World (But I Can See It From Here), Paramore - Brick By Boring Brick

Best Album: 30 Seconds To Mars - This Is War, Biffy Clyro - Only Revolutions, Bullet For My Valentine - Fever, Paramore - Brand New Eyes, You Me At Six - Hold Me Down

Best Live Band: 30 Seconds To Mars, Bullet For My Valentine, Green Day, Paramore, Skindred

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REM AND TUPAC ADDED TO US CONGRESS'S RECORDINGS LIBRARY
Recordings by REM and the late rapper Tupac Shakur are among the latest to be added to the US Library Of Congress' recordings archive. The Library adds new sound recordings to its collection each year based on nominations by the public and a panel of experts. Recordings must be over ten years old to be considered, and 25 are added each year.

Among the latest additions are Tupac's 1995 track 'Dear Mama', REM's 1981 song 'Radio Free Europe' and other recordings by Little Richard, Patti Smith and Willie Nelson. Spoken word recordings are also included, and Bill Cosby's comedy album 'I Started Out As A Child' are among the new additions.

Shakur is only the third rap act to be added to the Library's archives, following Grandmaster Flash and Public Enemy.

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CAST TO REFORM
It's okay everyone, you can stop holding your breath in anticipation, John Powers has finally announced the reunion of Cast. The band will perform a number of live dates later the year, the first time they will have been on stage together since splitting in 2001, and may record new material.

Frontman John Power told the NME: "I know it's been nearly a decade but everything feels alright. I'm in a good place at the minute so I rang the lads each individually and told them I feel like going out again with the band. For me to have rung the lads and for the lads to have come and sat in the same room as me is unbelievable because a few years ago I would have laughed. But now something musical is rising inside of me. Something's brewing in my mind and it's ready to pop".

He continued: "I've been writing a body of work that has made me feel at peace with the stuff I've done in the past and I don't want to think too far ahead, but I thought it would probably work for Cast. So I thought, 'Why don't we get together?'"

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BUSH REFORM FOR NEW ALBUM
Speaking of bands from the 90s you had little or no desire to see get back together, Bush gave got back together.

The band, fronted by Gavin Rossdale, have announced that they will make their official return at this year's Epicenter Twenty Ten festival in California, before releasing a new album in October.

You can hear the first single from the album, 'Afterlife', at the KROQ website now: kroq.radio.com/2010/06/21/world-premiere-new-music-from-bush-gavin-rossdale-visits-kroq/

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SOUNDGARDEN ANNOUNCE NEW SONG
Had enough news about reunited bands from the 90s yet? Well, tough, here's some more. Soundgarden, who I seem to remember split because they didn't want to carry on and "risk spoiling all their good work", have announced their first new material for thirteen years.

The track, entitled 'Black Rain', will feature in the upcoming 'Guitar Hero: Warriors Of Rock' videogame, which is due for release in September. After which they'll bow out gracefully and never sully their history again.

That last bit might be wishful thinking. Or maybe their reunion will be a beautiful, possibly even better extension of their earlier work. Just like, um, you know, er, there was that band. No, the name escapes me.

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LADY GAGA COMPLETES SECOND ALBUM
Lady Gaga has revealed that she has completed work on her second album. Fans will have to wait until next year to hear it, though. They'll also have to wait until the end of this year to find out the title, as the singer plans to announce the name by tattooing it on herself and publishing a photo of it at midnight on New Year's Eve. An email would have done, to be honest.

Gaga told Rolling Stone: "I've been working on [the album] for months, and I feel very strongly that it's finished right now. Some artists take years. I don't. I write music every day. ... I have been - for three years - baking cakes. Now I'm going to bake a cake that has a bitter jelly. The message of the new music is now more bitter than it was before. Because the sweeter the cake, the more bitter the jelly can be".

I like cake.

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ROBYN ANNOUNCED UK TOUR DATES
Following a one-off show in London last week, Robyn has announced that she will be back in the UK for a few more shows in October, by which time she will have released the second instalment of her three part 'Body Talk' album. Tickets go on sale tomorrow.

'Body Talk Part 1' was released last week, while 'Body Talk Part 2' and its first single, 'Hang With Me', will hit stores on 6 Sep.

18 Oct: Glasgo, ABC
19 Oct: Manchster, Academy 2
21 Oct: Brighton, Concorde
22 Oct: London, Shepherds Bush Empire

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BRMB BECOME OFFICIAL RADIO STATION OF BIRMINGHAM ARENAS
Birmingham radio station BRMB, now owned by Orion Media, has signed a new deal to be the official radio station of the city's two big arena venues, the LG Arena just outside the city and the NIA in the middle of it.

Confirming the deal, the Division GM of arena owners NEC Group told reporters: "It's great news that the LG Arena and The NIA have partnered with BRMB. We run two of Europe's busiest live entertainment and sports venues, selling over 1.5 million tickets to events annually, offering unique and attractive sponsorship opportunities where brands can interact with passionate audiences experiencing world class events. We believe the partnership will offer both BRMB listeners and fans of live music an opportunity to enjoy even more of their favourite artists and events".

Orion Media boss Phil Riley added: "We're thrilled to announce this new partnership and we're looking forward to working together on a range of exciting new opportunities in the coming months".

As previously reported, NEC are currently looking for a brand to take naming rights on the NIA arena, similar to tech brand LG's headline sponsorship of the former NEC Arena as part of a major revamp of the central Birmingham facility.

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IFPI ASK GOOGLE TO REMOVE PIRATE BAY LINKS
The International Federation Of The Phonographic Industry has requested that Google block any deep links to content made available via The Pirate Bay, on the basis that the rogue BitTorrent service has been found guilty of widespread copyright infringement on numerous occasions, most notably at last year's criminal trial in Sweden.

Confirming it had made the request, IFPI's General Counsel Jo Oliver told Billboard: "As part of IFPI's ongoing global anti-piracy programme we have asked Google to remove search results that link to infringing content made available through The Pirate Bay. The Pirate Bay is one of the world's largest drivers of online copyright infringement. Its operators have been found guilty of criminal charges in Sweden and courts in numerous other countries have ruled its activities are illegal. Online copyright infringement reduces potential revenue to record companies, large and small, that could be used to invest in the discovery, nurture and promotion of artists".

Having seen IFPI's actual letter to Google, TechDirt have said they reckon the correspondence might be step one towards legal action, ie if Google do not comply litigation could follow to force Google from stopping links to The Pirate Bay from appearing when users search for artist or song names. It remains to be seen how Google respond and how IFPI respond to their response and how Google respond to IFPI's response to their response, meanwhile this sentence could go on forever if we're not careful.

As previously reported, a take-down notice from UK record industry trade body the BPI ordering Google to block links to unlicensed content on various file-sharing websites was leaked onto the net this week. Some have suggested that notice was proof the BPI was stepping up its efforts to stop the big search engines from linking to unlicensed content, though a BPI spokesman said that the sending of such take-down notices by bodies like his to search engines like Google was pretty routine and nothing new.

Once before Google temporarily stopped linking to The Pirate Bay's home page after a mistake was made when an exec at the web firm was responding to a take-down notice from a US record company relating to TPB links.

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UK'S BIGGEST VINYL PIRACY FACTORY BUSTED?
According to reports, police and anti-piracy officers from the UK record industry recently raided a property west of London where illegal vinyl records were being manufactured.

According to the Music Industry News Network, 200 'stampers', used to press vinyl records, were seized during the raid, including some used to press copies of rare Rolling Stones bootleg recordings. Two German men were apparently at the property when police entered, both of whom were charged with copyright offences. It's been suggested that the plant might have been responsible for producing the majority of illegal vinyl releases in the UK.

It seems that this raid was linked to another that recently took place at Scenario Records in the Ladbroke Grove area of West London, though the exact link isn't clear.

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TUNECORE SECURES SPOTIFY DEAL
According to Digital Music News, US-based digital distributor Tunecore, which provides distribution services for tiny labels and self-releasing artists, has signed a deal with Spotify, meaning artists who are signed up to the distribution platform will soon be able to get their music into the Spotify catalogue and earn from it.

The deal will presumably be good for Spotify, in that it will open up the popular streaming music service to unsigned, self-releasing and totally independent artists, saving them from having to deal with said artists direct. MySpace has a similar deal with Tunecore for the same reason.

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OSBORNE ABOLISHES PHONE TAX
One extra bit of budget news we didn't include in yesterday's CMU budget round up. Among Georgie Osborne's wide-ranging budget flim flam was the announcement that the controversial phone tax devised by the previous Labour government is to be scrapped. Labour had proposed charging a 50p a month levy on everyone's phone lines to help fund the roll out of faster broadband internet services across the UK, especially to rural areas.

Instead of using the phone tax to raise the money needed to fund high speed broadband roll out, the ConDem coalition plan to use TV licence money originally set aside to fund the switchover to digital TV (not all of which has been spent). The cash will be made available to private businesses who invest their own money in enhancing Britain's broadband network.

Osborne told parliament: "We need investment in our digital infrastructure. But the previous government's landline duty is an archaic way of achieving this, hitting 30 million households who happen to have a fixed telephone line. I am happy to be able to abolish this new duty before it is even introduced. Instead, we will support private broadband investment, including to rural areas, in part with funding from the digital switchover under-spend within the TV licence fee".

The content industries have called on the net sector and government to ensure the roll out of faster broadband connections across the UK, to enable the wide range of new web-based video, audio, TV and radio services which are heading to market.

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COURTNEY LOVE STABBED KURT'S BALLS
Okay kids, how about this for an anti-drugs message: If you take drugs, Courtney Love will thrust pins into your testicles? That's right, your testicles. Admittedly, this might not be so off-putting for lady drug takers, but Courtney still has pins and isn't afraid to get stabby with them, so watch out.

Speaking to VH1 for a new edition of the station's long running 'Behind The Music' series, Love said: "[Kurt would] pass out and seek oblivion and I'd have to fucking slap him and put pins in his balls and put ice cubes everywhere and it started to piss me off... I started resenting that; I didn't like being a nursemaid".

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