An UnLimited Media Bulletin
Tuesday 15 October 2013

TODAY'S TOP STORY: In what turned out to be a very timely event - given the recent online squabble between Sinead O'Connor and Miley Cyrus, not to mention the ongoing discussions around this summer's Universal-released and published (and Beats endorsed, of course) rape anthem 'Blurred Lines' - Charlotte Church gave a speech... [READ MORE]
TODAY'S APPROVED: Here's a suggestion to supersize your Tuesday in an all-American kind of way: how about looking in on 'lost' vinyl saviours Light In The Attic's annual Road Trip, which is being chronicled on Pitchfork. Dedicated to re-releasing remembered (and less so) classic records, the Seattle-based label has, over its nine years in existence... [READ MORE]
TOP STORIES Church hits out at "juvenile male-dominated" industry
LEGAL Jurors may need counselling after hearing Watkins case, says judge
Sirius insists no royalty due on pre-1972 catalogue in the US
DEALS The Game signs to Cash Money
LABELS & PUBLISHERS Vivendi's Activision sell-off allowed, while prep for SFR sale underway
Adele helps XL to another bumper year
EDUCATION & EVENTS More speakers added to MusicTank event
RELEASES Daft Punk hint at deluxe Random Access Memories reissue
Pussy Riot film showing online
Arcade Fire make Awful Sound
Release round-up: New Mike Oldfield and TOY LPs, plus Duck Sauce and James Blake/Chance The Rapper
GIGS & FESTIVALS Killswitch Engage and Trivium to co-headline shows
Baby Godzilla, Shikari Soundsystem booked for London Halloween party
Yuck, King Charles, Swiss Lips playing War Child gigs
AND FINALLY... Cinema chain slaps phone addict Madonna with ASBO
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Church hits out at "juvenile male-dominated" industry
In what turned out to be a very timely event - given the recent online squabble between Sinead O'Connor and Miley Cyrus, not to mention the ongoing discussions around this summer's Universal-released and published (and Beats endorsed, of course) rape anthem 'Blurred Lines' - Charlotte Church gave a speech about the relationship between women and the music business at the Radio Festival in Salford yesterday.

Delivering the now annual 6 Music-backed John Peel Lecture, Church covered a number of related topics, including the lack of women in key roles in the business, the increased sexualisation of music videos accessible to children, the tendency for some women to make their music for or about men, and the pressure on young female singers to sex-up their acts. And although the diversity of topics did blur the overall message a little (making it less of a rally call for action, and more a summary of the issues) it was on the latter topic that Church covered the most interesting ground.

Whereas Madonna exploited sex for creative and commercial gain in the 1980s in a way that said she was in control of her life and her sexuality, Church mused, that model has since been corrupted so that aspiring pop females are told "take [your] clothes off, show you're an adult". And while the female stars who pump out increasingly sexual content and performances think they are pushing boundaries and taking control in fact, Church reckons, they are being coerced into choosing a product that makes their mainly male backers very rich, while sending out a very bad message indeed to the young women in their fanbase.

Recalling her own experiences as a child star who then aspired to a grown up career in pop, Church said female singers "are encouraged to present themselves as hyper-sexualised, unrealistic, cartoonish; as objects, reducing female sexuality to a prize you can win. When I was 19 or 20, I found myself in this position, being pressured into wearing more and more revealing outfits and the lines that I had spun at me again and again (generally by middle aged men) were 'you look great you've got a great body why not show it off?' or 'don't worry it'll look classy; it'll look artistic'. I felt deeply uncomfortable about the whole thing, but was often reminded by record label executives just whose money was being spent".

Noting that it is entirely possible for singers and songwriters to deal with sex without being sexist, Church suggested that what she perceives as the almost childish exploitation of female sexuality by the pop business was the result of a male dominated industry with a "juvenile perspective on gender and sexuality". Adding that the exposure of young women to overly sexualised music videos and live performances was likely indoctrinating the next generation of female pop stars into believing they too had to act that way, except they will have to push the supposed boundaries even further.

You can read Church's full speech on the Radio Today website here and listen to her delivering it for the next week on the iPlayer here.

Jurors may need counselling after hearing Watkins case, says judge
Jurors may need counselling after the upcoming trial of Lostprophets singer Ian Watkins, a judge warned yesterday in a routine court hearing. Watkins and his two co-accused each appeared via video link in court yesterday as preparations for their trail next month were made, including discussions about jury selection.

As previously reported, the singer faces a number of charges, including two relating to the rape of a one year old girl, several other instances of child abuse, making, possessing and distributing indecent images of children, and owning "extreme" pornography involving an animal.

Watkins and one of the women also accused deny all the charges, though the other accused woman has now, according to Wales Online, admitted to sexually touching, and taking and distributing indecent images, of a child.

Yesterday's judge, Eleri Rees, adjourned the case for a pre-trial review early next month to be overseen by the trial judge, Roger Royce. Rees told prosecution and defence lawyers that they should prepare a list of questions to put to potential jurors during the selection process.

Noting the nature of the charges against Watkins, Rees added: "There is also the question that some jury members, having completed the trial, may need counselling".


Sirius insists no royalty due on pre-1972 catalogue in the US
US satellite radio company Sirius has responded to one of the lawsuits filed against it by the American record industry in relation to the pre-1972 catalogue. And in legal papers submitted last week the broadcaster said it wasn't obliged to pay labels or recording artists royalties for tracks released before 1972, either directly or via the SoundExchange collective licensing system.

As much previously reported, in the US the copyright in sound recordings released before 1972 is protected by state rather than federal law. This has created a number of debates in recent years, not least whether the federal laws that provide protection to digital platforms that inadvertently host infringing content uploaded by third parties still apply with copyright works protected by state legalisation.

In that debate, the record industry would prefer it if federal law did not apply to pre-1972 recordings, so that the labels could sue Grooveshark for routinely hosting user-uploaded tracks that originated in the 1950s and 1960s (whereas federal law prevents labels from suing over tracks released after 1972 because of Grooveshark's allegedly shoddy but seemingly legally sound takedown system).

In the Sirius debate, however, it would probably be better for the record companies if some principles of federal copyright law could be deemed to cover the pre-1972 catalogue.

Under federal law the satellite broadcaster, unlike AM and FM radio stations in the US, has to pay royalties to the sound recording rights owners for the music it plays (traditional radio firms only have to pay performing right royalties to the publishers and songwriters). The rights owners, though, are obliged to licence, and licensees like Sirius and online radio services (which are also obliged to pay recording royalties) can opt to do so via the rights agency SoundExchange, with royalty rates set by statute.

Sirius does pay its sound recording royalties via SoundExchange, but it recently transpired it has not been paying royalties for tracks it plays that were released pre-1972. That has resulted in litigation from SoundExchange itself, and also from the major labels and sixties band The Turtles, who argue that if the satellite broadcaster reckons the federal law collective licence doesn't apply to pre-1972 tracks, then it should be doing direct deals with labels and recording artists for that catalogue instead.

But, in its court filing last week, Sirius argued otherwise. It said that the specific obligation for satellite and online broadcasters to pay a sound recording royalty did not exist in state law, so if AM/FM radio stations are not obliged to pay labels a royalty under state copyright - which they are not - then neither is the satellite broadcaster.

In a court filing actually requesting that legal action filed against it in the Californian courts be moved to the New York jurisdiction, Sirius said: "The plaintiff apparently has become aggrieved by the distinction drawn by Congress in withholding copyright protection from its pre-1972 recordings; thus now, after decades of inaction ... it asserts a purported right under the law of various states to be compensated by SiriusXM".

It adds: "As will be shown at a later stage of these proceedings, there is no state law that requires SiriusXM (or any of the hundreds of thousands of other US businesses that publicly perform music) to pay license fees for pre-1972 recordings".

As stated there, Sirius insists that no state laws in the US oblige it to pay recording royalties on pre-1972 catalogue, though the broadcaster's lawyers accuse The Turtles vocalists Flo & Eddie of playing a lawsuit lottery by filing identical litigation in three separate states, ie sue in as many courts as possible in the hope one judge can be persuaded a royalty should apply.

But, says Sirius, if a state court did just that, the ruling would affect anyone using sound recordings in public, including radio, television, clubs, bars and other public spaces, which would have a far-reaching impact beyond increasing the royalties the satellite radio firm pays.

The dispute continues.

The Game signs to Cash Money
Google-shy rap player The Game has followed the likes of Paris Hilton and Limp Bizkit, as one does, and signed to the Cash Money Records clique.

In doing that, he breaks with long-time label Universal's Interscope, which released his last five LPs.

"S/O 2MY@thegame Westcoast makit Official.RICHGANG.YMCMBusine$$", tweeted Cash Money MD Birdman over the weekend, confirming (I think) the signing, and adding this pic of The Game's commemorative CM bling.

And this is The Game's recent mixtape, 'Operation Kill Everything'.

Vivendi's Activision sell-off allowed, while prep for SFR sale underway
Universal Music parent company Vivendi has been able to sell most of its stake in gaming giant Activision after a Deleware court blocked a previously reported challenge by another shareholder.

It means that Activision itself and a consortium led by the firm's CEO Bobby Kotick will buy around 48% of the company off Vivendi, in a deal that was struck back in July that makes the French conglom a minority shareholder.

According to Bloomberg, Kotick said that the acquisition, basically making Activision an independent player once more, would remove some of the uncertainty that came with being part of Vivendi and enable the group to focus on a new period of expansion and "making great games".

As previously reported, the Delaware courts put the deal on hold last month after another investor with a stake in Activision said the deal should have gone to a shareholder vote. But the court subsequently knocked back that lawsuit, saying no vote was required.

Back at Vivendi, the entertainment and telecommunications group has appointed banks to advise on the sale of much of the latter part of its operations, ie its flagging French telecoms business SFR.

According to the Financial Times, Société Générale and Citigroup are now advising on the long expected SFR sell-off, likely to be done through a flotation in a year's time. The sell-off would leave Vivendi with just Universal Music and French TV firm Canal Plus, though it would likely then set about expanding its entertainment industry assets.


Adele helps XL to another bumper year
XL Recordings, the independent record company jointly owned by top man Richard Russell and the Beggars Group, had a turnover of £78.6 million in 2012 and pre-tax profits of £25.4 million, according to company accounts seen by the Daily Telegraph. The broadsheet says a "hefty dividend" was paid in April to Russell and the Beggars business (£12 million each).

A lot of the money generated by the label - and indeed most of the media interest in its company accounts - is the result of just one artist, Adele, whose 2011 album '21' was still accounting for a "significant proportion" of the indie's 2012 turnover. The same record, of course, assured XL record turnover of £111.7 million the previous year.

With Adele not expected to release another record until at least mid-2014, the label reported that it was looking to secure more hits to assure future profitability, while also noting that the wider record industry seems to have turned a corner after years of decline.

More speakers added to MusicTank event
Yet more speakers confirmed for MusicTank's 'Easy Money?' convention in London next week? Oh yes, with reps from PledgeMusic, Edge Investments and Createch Consulting amongst those most recently added to the line up at the event, which follows the recent publication of the organisation's report on funding for artists and music enterprises, penned by Remi Harris, who will also be interviewed at the conference.

In addition to those and previously confirmed speakers, reps from the BPI, Arts Council England, Kickstarter, Transmit, PRS For Music Foundation and PledgeMusic will also take part in one-to-one advice surgeries, available for ten minute sessions with delegates. The event takes place at Somerset House next Tuesday, 22 Oct, with more info and tickets and such what available here.

  Approved: Light In The Attic Road Trip
Here's a suggestion to supersize your Tuesday in an all-American kind of way: how about looking in on 'lost' vinyl saviours Light In The Attic's annual Road Trip, which is being chronicled on Pitchfork.

Dedicated to re-releasing remembered (and less so) classic records, the Seattle-based label has, over its nine years in existence, lent new relevance to archive discs by Rodriguez, D'Angelo, Lee Hazelwood, Serge Gainsbourg, Jane Birkin and Betty Davis, not to mention working with so-called 'rock n roll farmers' Donnie and Joe Emerson to salvage the pair's essential 1979 LP 'Dreamin Wild'.

The Road Trip, which they do every year, finds Team LITA scaling the States, visiting 80 record stores in a bid to talk to as many artists, shop owners and vinyl-lovers as possible. It's probably worth following, if only as an 'in' to the many admirable things Light In The Attic do as a day job.

Screen the Father John Misty-featuring episode 1, via Pitchfork TV - who will cover later Road Trip stops via a rolling broadcast - now.
CLICK HERE to read and share online

Daft Punk hint at deluxe Random Access Memories reissue
As is fairly predictable practice in our time, it looks as if Daft Punk are giving their newest LP, 'Random Access Memories', a special re-release, compiling the original tracklisting - and added extras, I'd imagine - into a costly box.

Whilst its specifics are still secret, the band did give a signed copy as a prize to #1 fan Janelle Rodriguez at the New York Comic Con last week, so it definitely exists.

It'll probably have an additional disc, rarities, and a life-sized Pharrell cardboard cut-out.... blah blah blah. A quick glance at Rodriguez's Twitter reveals she's expecting to receive the set by 31 Dec, which may give an idea as to its release date.

Let's end all this vagueness with what, I'm 99.99% certain, is DP's Pharrell-featuring 'Lose Yourself To Dance' clip.


Pussy Riot film showing online
An acclaimed documentary about incarcerated Russian radicals Pussy Riot, titled 'A Punk Prayer', is watchable online via BBC iPlayer, where it premiered yesterday a week ahead of its TV air-date.

As much previously reported, three members of the all-female punk group were tried and convicted last year on a "hooliganism" charge after performing an anti-government protest song in a Moscow church.

Whilst one of the three, Yekaterina Samustsev, was freed back in October, the other two, Maria Alyokhina and Nadezhda Tolokonnikova, remain in jail, with the latter recently going on a hunger strike over objections to the conditions at the prison camp in which she's being held.

Watch the award-winning 'Pussy Riot: A Punk Prayer', part of the BBC's Storyville doc collection, here.


Arcade Fire make Awful Sound
Any Arcade Fire news is big news, especially if it pertains to a new track which, in this case, is the case.

Anyway, I'll quit rambling and say this; Arcade Fire have advanced fans part of a track bearing the misleading title 'Awful Sound (Oh Eurydice)', a title I'm guessing is (not) a tribute to the Johnny Borrell school of song titles.

Anyway, it's really good, and will be, in all likelihood, on AC's new album 'Reflektor' when that comes out at the end of October.

Torture yourself (in that it's too short) with just over 30 seconds of 'Awful Sound' now.


Release round-up: New Mike Oldfield and TOY LPs, plus Duck Sauce and James Blake/Chance The Rapper
Chairing this here release breakdown is Mr Mike Oldfield, who yesterday made the revelation that he has a new LP, his first since 2008, in waiting. 'Man On The Rocks', as it's called, is out 27 Jan, and will feature verbal stylings by The Struts' Luke Spiller. Find a tracklisting and various other missing information at this link.

Also announcing an LP in Mike's wake are Heavenly Recordings-signed psych freshmen TOY. Sharing a name with one of its tracks, the band's new album, 'Join The Dots', is set to be released on 9 Dec, in time for a black (says this promo pic) Christmas. Hear the title track via this player.

Duck Sauce news now, and the dance-pop hit factory - aka A-Trak and Armand Van Helden - is to ladle a new single onto the airwaves and charts. Titled 'Radio Stereo', it'll feature on the duo's debut LP 'Quack', which is being billed for an early 2014 release. Dial into 'Radio Stereo' here, and re-stream Duck Sauce's recent BBC Radio 1 Essential Mix here.

Finally, James Blake has a new video to show off, depicting Chance The Rapper's mix of 'Life Round Here', a track carried on Blake's latest LP, 'Overgrown'. The first of various TBA collaborations the pair are mooted to be working on, it's showing now on YouTube.

Killswitch Engage and Trivium to co-headline shows
Metal types Trivium will join rival Roadrunner signings Killswitch Engage (and vice versa) in co-headlining a series of shows in February 2014. Trivium do so in support of their just-out new LP, 'Vengeance Falls', whilst Killswitch Engage's prerogative is promoting their newish CD, 'Disarm The Descent'.

Talking up his touring partners, Trivium's Matt Heafy says: "There is no question that Killswitch Engage is one of the most influential bands of the last decade. It is an honour to be able to tour with one of our personal favourite bands across one of my favourite places on Earth: the UK".

Doing the same, Killswitch Engage's Joel Stroetzel adds: "We're all very excited for the upcoming tour with Trivium! The UK has been a favourite place to play for both bands over the years, so joining forces should make for some great shows! Very psyched!"

Tour dates:

1 Feb: Manchester Academy
2 Feb: London, Brixton Academy
3 Feb: O2 Academy Newcastle
6 Feb: O2 Academy Birmingham
7 Feb: Southhampton Guildhall


Baby Godzilla, Shikari Soundsystem booked for London Halloween party
Skate/music site Caught In The Crossfire is playing host to the likes of speed metallers Baby Godzilla, Shikari Sound System and Gallows guitarist Lags at its annual Halloween Massacre.

Taking place (on a boat, the Battersea Barge) in London on 1 Nov, the 'Trailer Trash Slashers v Heavy Metal Thrashers'-themed party will feature a live set by Baby Strange, and DJ sets by Shikari SS and Lags.

Tickets are still in stock at this page.


Yuck, King Charles, Swiss Lips playing War Child gigs
Yuck, King Charles, Embers and Rachel Sermanni will all appear across a series of live dates arranged by charity War Child in November.

The TuneUp Festival, so titled because it's co-hosted by Tune Hotels, will begin on 18 Nov at Brighton's Komedia, featuring Yuck, Swiss Lips and Champs, hitting four stops in all, the last of which is at Edinburgh's Liquid Room and features Scottish folk artist Rachel Sermanni, Bwani Junction and Vigo Thieves.

Info on the shows - proceeds from which, it goes without saying, will go to War Child, is via this URL.

Cinema chain slaps phone addict Madonna with ASBO
It's a brave man that forbids Madonna from doing what Madonna wants to do, but a man (or rather, a cinema chain) still had a go the other day, the brave, naive idiot. Madge was apparently slapped with a ban, barring her from an entire chain of American 'movie theaters', after she was deemed to have been 'texting excessively' at the recent New York premiere of director Steve McQueen's new film '12 Years A Slave'.

Given its subject matter's self-evident gravity, you'd have thought she might've felt like giving the feature her full attention, but... apparently not. Instead, on being asked by a fellow movie-goer to ease off on the messaging, Madge is alleged to have snapped back "it's for business... enslaver!", and carried on.

In retort, Tim League, CEO of the Alamo Drafthouse cinema chain, has referred the company's strict policy on anti-social behaviour during its screenings, tweeting last week that "Until she apologises to movie fans, Madonna is banned from watching movies @drafthouse" and "Madonna, however entitled she feels she is, is unbearably rude to others around her by texting in a theatre".

Later backtracking only slightly, he added via Entertainment Weekly that the tweet had been "offhand joke, a spur of the moment 140 characters" and was "more of a means to get the issue out there, that it is rude to text during movies".

"But now that it seems to have taken hold", he said finally, "sure, I'm going to enforce it".

Oh sure, why not? It's only Madonna.

ANDY MALT | Editor
Andy heads up the team, overseeing the CMU bulletin and website, coordinating features and interviews, reporting on artist and business stories, and contributing to the CMU Approved column.
Email (except press releases, see below)
CHRIS COOKE | Co-Publisher, Business Editor & Insights Director
Chris provides music business coverage, writing key business news and analysis. Chris also leads the CMU Insights training and consultancy business, and is MD of CMU publisher UnLimited Media.
Email (except press releases, see below)
ALY BARCHI | Staff Writer
Aly reports on artist news, coordinates the festival, gig and release round up columns, and contributes to the CMU Approved column. She also writes for CMU's sister title ThisWeek London.
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SAM TAYLOR | Commercial Manager & Insights Associate
Sam oversees the commercial side of the CMU media, leading on sales and sponsorship, plus helps manage and deliver the CMU Insights training courses and consultancy services.
Email or call 020 7099 9060
CARO MOSES | Co-Publisher
Caro helps oversee the CMU media, while as a Director of UnLimited Media she heads up the company's other two titles ThisWeek London and ThreeWeeks Edinburgh, and supports other parts of the business.
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