An UnLimited Media Bulletin
Tuesday 27 May 2014

 
TODAY'S TOP STORY: One of the co-founders of Rap Genius resigned from the company yesterday after criticism of posts he made to the lyrics site in the wake of the multiple killings that occurred near the University Of Santa Barbara on Friday. The offending posts occurred within the News Genius forum which allows users to post, annotate and comment on documents relating to current events, in much the same... [READ MORE]
 
TODAY'S APPROVED: We all like a bit of Scandinavian pop, don't we? Luckily, Sweden's Sailor & I (singer and producer Alexander Sjoedin to his mum) has obliged us by following up last year's debut single 'Tough Love' with an excellent new track that manages the unique trick of sounding hot and summery, whilst remaining imbued with a chilly frostiness at its heart. 'Turn Around' - the first song from a new EP of the same... [READ MORE]
TOP STORIES Rap Genius founder resigns after annotating Santa Barbara killer's 'manifesto'
JUMP | ONLINE
LEGAL EMI hits out at MP3tunes founder's attempts to cut infringement damages bill
Man questioned over AKB48 attack
Beastie Boy due in court for Monster infringement case
JUMP | ONLINE
LABELS & PUBLISHERS SESAC owner might bid for the Harry Fox Agency
Atlantic promotions chief expands his role
Emma Pike departs Sony Music
JUMP | ONLINE
LIVE BUSINESS Australian fans unhappy at 50% refund for abandoned Janelle Monáe show
JUMP | ONLINE
DIGITAL & D2F SERVICES Sam Smith to do live ad for Google Play
JUMP | ONLINE
THE GREAT ESCAPE Festival PR tips shared at The Great Escape, and now in the CMU Digest Report
JUMP | ONLINE
EDUCATION & EVENTS New CMU Insights season kicks of next week
Big Music Project Competition to hunt down new musical talent
JUMP | ONLINE
ARTIST NEWS Jarvis Cocker to focus on songwriting during 6 Music sabbatical
JUMP | ONLINE
AND FINALLY... Macaulay Culkin's pizza-themed band proves unpopular, despite kazoo solos
JUMP | ONLINE
 
Click JUMP to skip direct to a section of this email or ONLINE to read and share stories on the CMU website (JUMP option may not work in all email readers). For regular updates from Team CMU follow us on Twitter, Facebook or Tumblr.
 
 
CMU INSIGHTS: THE MUSIC BUSINESS IN 2014
Eight evening seminars providing a complete overview of the music business in 2014 - covering all key revenue streams, music rights in detail, music PR and social media, direct-to-fan and artist deals.

For more information and to book on to individual seminars or the whole programme click here.
   
NUCLEAR BLAST - PRESS OFFICER
London office for well-established rock/metal label is looking for a young, dynamic and creative Press Officer to handle PR for it's rapidly diversifying roster. The ideal candidate should have at least two years experience in a similar role with existing contacts within the rock/metal media.

For more information including a full job description and how to apply click here.
   
PLAY IT AGAIN SAM - IN HOUSE PUBLICIST
Play It Again Sam Recordings are looking for an in house publicist to manage the press campaigns of artists on the label. The applicant should have current experience in the print field and some experience of the on line world would also help. A good eye for detail, a broad musical interest and an eagerness to be part of a label team are also essential.

For more information including a full job description and how to apply click here.
   
CIRCUS RECORDS - LABEL ASSISTANT
Circus Records and its associated group of companies are looking for an exceptional and motivated addition to their team. As assistant to the Label Manager you will be entrusted to perform, plan and execute all the standard processes required to ensure successful label functions for Circus Records and it's group of managed labels.

For more information including a full job description and how to apply click here.
   
WARP RECORDS - UK PRODUCT MANAGER
Warp is looking for an outstanding person to become our new UK Product Manager. You will be managing the promotional, marketing and sales campaigns for our artists’ releases, helping them reach their potential through media, retail, advertising, digital, radio and new innovations and opportunities.

For more information including a full job description and how to apply click here.
   
SJM CONCERTS - MARKETING ASSISTANT
This Manchester-based role involves assisting and supporting SJM's marketing team to maximise exposure for the company's events. This will include helping to implement marketing campaigns that generate sales for new tours and events via various platforms including press, radio, TV, digital and print.

For more information including a full job description and how to apply click here.
   
MINISTRY OF SOUND - SYNC LICENSING MANAGER
Ministry of Sound are looking for an experienced Sync Licensing Manager to handle all areas our sync licensing for our new artists and tracks as well as our back catalogue, making sure revenue is maximised and proactively seeking out new sync opportunities.

For more information including a full job description and how to apply click here.
   
AUDIO - PROMOTIONS MANAGER
Brighton's number one music venue Audio and Above Audio is recruiting a Promotions Manager. Regarded as one of the best small clubs in the UK, Audio regularly hosts some of the worlds best DJ's and is also a well established live music venue. Above Audio, one of Brighton's premier cocktail bars, boasts the largest back bar, and is home to some of the finest mixologists in the city.

For more information including a full job description and how to apply click here.
   
[PIAS] ARTIST & LABEL SERVICES - INTERNATIONAL DIGITAL SALES MANAGER
[PIAS] A&L Services have a vacancy within the A&L National Accounts Team as International Digital Sales Manager. The role has responsibility for maximising digital revenues outside of the core [PIAS] territories as well as coordinating activity and campaigns on a pan-territory basis.

For more information including a full job description and how to apply click here.
 
CMU Jobs is a proven way to recruit the best music business talent for roles across the industry at all levels, from graduate to senior management. To book an ad contact Sam on 020 7099 9060 or email ads@unlimitedmedia.co.uk
 
 

Rap Genius founder resigns after annotating Santa Barbara killer's 'manifesto'
One of the co-founders of Rap Genius resigned from the company yesterday after criticism of posts he made to the lyrics site in the wake of the multiple killings that occurred near the University Of Santa Barbara on Friday.

The offending posts occurred within the News Genius forum which allows users to post, annotate and comment on documents relating to current events, in much the same way users post, annotate and comment on song lyrics in the main section of the Rap Genius platform. The document the site's co-founder Mahbod Moghadam annotated was the "manifesto" of Elliot Rodger, the young man behind Friday's homicides.

Some have questioned whether it was right at all to dissect Rodger's writings so soon after his crimes had been committed, though the site's owners have argued that doing so falls within the remit of the News Genius forum and that perhaps "understanding the psychology of people who do horrible things can help us to better understand our society and ourselves".

However, it wasn't Moghadam's participation in this particular Rap Genius post that caused controversy, rather some of the things he wrote, in particular remarks that some of Rodger's somewhat sinister manifesto was "beautifully written", and even more so an assumption that the killer's sister must have been "smokin hot".

As criticism of the annotations grew online the Rap Genius founder told Valleywag: "I was fascinated by the fact that a text was associated with such a heartbreaking crime, especially since Elliot is talking about my neighbourhood growing up. I got carried away with making the annotations and making any comment about his sister was in horrible taste, thankfully the Rap Genius community edits out my poor judgement, I am very sorry for writing it".

But the apology seemingly wasn't enough to placate the flood of critics that had by this point emerged online, leading to an announcement by another founder of the site, Tom Lehman, that Moghadam had stepped down from the company.

In his own post Lehman defended the discussion of Rodger's text on his site, but conceded that had one of his community's moderators posted the same remarks as his co-founder, that moderator would likely be asked to step down. "And Mahbod, our original community leader, is no exception" he went on. "In light of this, Mahbod has resigned - both in his capacity as an employee of the company, and as a member of our board of directors, effective immediately".

Lehman added: "Mahbod is my friend. He's a brilliant, creative, complicated person with a ton of love in his heart. Without Mahbod Rap Genius would not exist, and I am grateful for all he has done to help Rap Genius succeed. But I cannot let him compromise the Rap Genius mission - a mission that remains almost as delicate and inchoate as it was when we three founders decided to devote our lives to it almost five years ago".

The venture capital backed Rap Genius previously courted controversy for operating without licences from the music publishers whose lyrics its core service utilises, and then for seemingly breaking Google's rules for encouraging bloggers to link to its pages, resulting in a temporary ban from the web giant's search lists. Though the Google slip up was quickly fixed, and deals with most of the US music publishers have now been negotiated.

The site's operators and backers will be hoping that, with Mahbod's speedy departure, this slip up can be as quickly put behind them.

EMI hits out at MP3tunes founder's attempts to cut infringement damages bill
Legal reps for EMI have hit out at a motion filed earlier this month by MP3tunes founder Michael Robertson that seeks to have the copyright infringement ruling made against him earlier this year retried, reconsidered or, at least, the damages he was ordered to pay reduced.

As much previously reported, MP3tunes was one of the original music-focused digital locker services, but it quickly found itself at the receiving end of litigation from EMI. There were various elements to the lawsuit, which targeted Robertson personally as well as his company, with the defendant basically winning at first instance, but the music company prevailing on appeal.

Although not all the copyright infringement allegations against Robertson stood up on second hearing, the jury hearing the case reckoned that the web entrepreneur was liable for distributing unlicensed content, and links to unlicensed content, over this own platform, and perhaps more importantly for being "wilfully blind" to others copyright infringement on his site. The ruling led to EMI being awarded mega-bucks damages, which ended up being $48 million (even more than the initially mooted $41 million).

Robertson filed a motion with the court earlier this month raising various concerns over the ruling against him, and the size of the damages awarded, which were so high partly because the jury opted for more than the statutory minimum when deciding how much Robertson should pay, and partly because of the number of tracks listed in the case as being infringed, damages under US copyright law being applied 'per infringement'.

According to Law 360, Robertson's lawyers argue that the "wilfully blind" bit of the case is crucial when it comes to the damages, as it added 2000 more copyrights that their client is accused of infringing, in addition to those where there was direct infringement (ie Robertson shared the files himself). But EMI took advantage of "vague case law" to score the "wilfully blind" ruling, Robertson's attorney's argue.

For their part, the EMI legal team has hit out at Robertson's various calls for a rethink, arguing that "after the immense work and considered judgment invested by the jury in this case, Robertson asks this court to discard the jury's careful verdicts based largely on self-serving characterisations of isolated pieces of evidence and testimony".

Robertson also argues that the damages sum is disproportionate to the losses EMI suffered as a result of files and links being shared over the MP3tunes website, to which the record company's lawyers counter: "We were under no obligation to demonstrate actual losses to recover statutory damages. The jury was free ... to conclude that the harm to plaintiffs (and the industry generally) from defendants' conduct went well beyond lost sales".

It remains to be seen how the judge responds to both sides' motions. Of course MP3tunes went under in the midst of this dispute, so no longer exists, while EMI was split into its recordings and music publishing divisions and sold on to Universal and Sony/ATV respectively.

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

Man questioned over AKB48 attack
A man is being questioned by police after he attacked members of Japanese pop franchise AKB48 at a fan event on Sunday in Takizawa in northern Japan.

Two members of the girl group and a staff member at the event were injured after the man attacked them with a saw that he had concealed inside his coat. AKB48 members Anna Iriyama and Rina Kawaei reportedly sustained head and hand injuries in the attack, while the staff member also suffered cuts to his hands.

All three received hospital treatment, though have since been discharged, with Kawaei issuing a statement to fans, saying: "We've caused you worry, but we are returning to Tokyo now. Thank you very much".

Although the AKB48 franchise currently has 140 members, with only a small number appearing at any one show or event, a Tokyo concert was cancelled after the attack as have been all forthcoming fan events, possibly while security arrangements are reviewed.

The attacker has been named as 24 year old Satoru Umeta, with police telling AFP yesterday: "We have started questioning the suspect this morning to know details, including his motive".

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

Beastie Boy due in court for Monster infringement case
Adam Horovitz is expected to appear in court in New York later today to give evidence in the Beastie Boys' legal battle with the Monster Energy Drink.

The rap group sued the energy drink company in August 2012, just a few months after the death of Beastie Boy Adam Yauch, who had included a clause in his will that prohibited the use of his music, image or any other artistic creation in advertising.

The group's lawsuit claims that the drinks company used their music in videos and downloads without permission, and is seeking damages of $150,000 for each infringement. The lawsuit adds: "The public was confused into believing that plaintiffs sponsored, endorsed and are associated with defendant Monster in promoting defendant Monster's productions and promotional events".

According to Consequence Of Sound, Horovitz will explain why he feels that is a suitable damages sum for Monster's alleged infringing activities as the case gets underway in court later today.

SESAC owner might bid for the Harry Fox Agency
The private equity firm that took control of American performing rights society SESAC last year, Rizvi Traverse, is reported to be bidding to buy the main US mechanical rights organisation the Harry Fox Agency, in a deal that could result in a combined performing and mechanical rights body in the American music publishing sector for the first time.

When music publishers license their songs to third parties, the licence defines the exact ways in which a customer is allowed to make use of the music being licensed, and a common distinction is made between the making of 'mechanical copies' of songs and the performing of them in public.

In the collective licensing space, where the music publishers provide blanket licences to certain groups of licensees through their collecting societies, separate collecting organisations have usually been set up for 'mechanical' licensing and 'public performance' licensing, because traditionally different groups of people wanted such licences (record labels usually wanting to make mechanical copies of songs, whereas broadcasters and concert promoters need permission for songs to be performed in public).

This has created challenges in the streaming content space, where often both licences are required, because streaming services make copies of songs while simultaneously performing them in public. In some countries - including the UK - mechanical and public performance societies have allied in recent years and offer joint licences in such scenarios.

In the US, though, where there are three separate performing right societies, each representing different rights owners, there has been no such alliance, meaning online services have not been able to get one-stop blanket licences from the publishing sector (some streaming services have actually licensed the mechanical side directly with the publishers, while covering performing rights via the societies). All of which would make SESAC and HFA coming into common ownership very interesting, even though SESAC is by far the smallest of the performing right societies in the US.

But a merger would enable the combined organisation to provide joint licences for the SESAC catalogue. Plus some wonder if there might not be more opportunities for a combined SESAC/HFA if and when the US publishers withdraw their digital rights from the bigger performing right societies BMI and ASCAP. Because while those publishers would then seek to do direct deals with digital services, they may still need an agency to oversee royalty collections, and SESAC - as a more commercial entity than the other two performing right societies - might go after that work.

According to Billboard, the current owner of HFA, which is the US publishing sector's trade body the National Music Publishers Association, has been considering a sale for a few months now, and is planning on hiring the services of an investment bank to consider possible options. Though the mechanical licensing side of music publishing is generally in decline, because it's so closely linked to the record industry's fortunes, so it's possible only a buyer with a strategic interest, like Rizvi Traverse, would be interested.

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

Atlantic promotions chief expands his role
Damian Christian, promotions man at Warner's Atlantic Records, has been promoted, taking on responsibilities for the "strategic direction" of promotions activity at Warner's label services business ADA and the major's oh-yes-it's-back-people East West Records label. He will have two jobs titles moving forward, being SVP Of Promotional Strategy for Warner UK in general, as well as Director Of Promotions at Atlantic specifically.

Says Warner UK CEO Max Lousada: "Damian is a music executive at the top of his game. He consistently creates huge opportunities that propel our artists to new heights and I'm thrilled that his expertise can now benefit the acts signed to East West and ADA. This well-deserved promotion is a natural progression for him as a leader in his field".

Christian himself added: "I'm incredibly proud of having been part of Atlantic's success. I have really enjoyed working with Max and look forward to working more closely with Ben Cook at Atlantic and Dan Chalmers and the great artists on East West and ADA. I've been very lucky to promote some inspirational and talented acts and I've done it with the backing of an amazing promo team. These are exciting times for Warner Music UK and I'm thrilled to be a part of it".

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

Emma Pike departs Sony Music
Sony Music's VP Of Industry Relations in the UK, Emma Pike, is departing the major to pursue some of those "entrepreneurial opportunities". Pike, who led UK Music predecessor British Music Rights prior to joining the major six years ago, will depart next month before the arrival of Sony Music UK's new CEO Jason Iley.

Confirming her departure, Pike told Music Week: "I have had six wonderful years at Sony Music and I will miss it and the people here enormously. I have decided to dive into the world of creative and entrepreneurial opportunities inside and outside music. I have rather too many ideas ranging from the relatively sensible to the plain silly - so my first priority is to enjoy a summer of exploration before embarking in earnest on new projects in the autumn".

Australian fans unhappy at 50% refund for abandoned Janelle Monáe show
Live Nation has begun the process of issuing refunds after a Janelle Monáe and Kimbra co-headline tour of Australia was cancelled due to the former's ill-health, but some are not happy with the offer they have received.

The tour was actually cancelled mid-show during a Melbourne concert once Monáe's ill-health was confirmed, and ticketholders for that gig have only been offered a 50% refund, on the grounds that they got to see Kimbra perform before the event was aborted.

An email from Ticketmaster informed fans: "[Promoter] Live Nation has advised that due to the inconvenience caused by the mid-show cancellation of the Janelle Monáe with Kimbra show which took place at the Forum Melbourne on Saturday 17 May 2014, a 50% refund of your total ticket value will be processed".

Now, while you could debate whether or not the balance of power in a Kimbra/Janelle Monáe double-header amounts to a 50/50 split, many have already pointed out that the advertised big finish of each show was a set from both performers and their bands together. And that is definitely something that attendees of the Melbourne gig did not see - meaning they got somewhat less than 50% of the billed experience.

Disgruntled concertgoers have been flocking to the Ticketmaster Australia and Live Nation Australia & New Zealand Facebook pages to complain about the situation, with the words "disgusted" and "unacceptable" cropping up particularly often.

Live Nation has told Music Feeds that despite the backlash, it will stand by its policy to only offer a 50% refund on the show. Refunds are being returned to the credit cards on which tickets were originally purchased through an automated system.

The original opening show of the tour at the Challenge Stadium in Perth was also cancelled on the day of the event but that was due to a "tight touring schedule".

Sam Smith to do live ad for Google Play
The Google Play download and streaming platform is teaming up with Channel 4 and that Sam Smith blokey for a live advert. Yes, live. Who'd of thought it possible? Me.

Anyway, the first time a live musical performance has been aired as an advert in the UK, apparently, Smith will perform a song from his sold out show at London's Roundhouse for the cameras during an ad break in the 'Alan Carr: Chatty Man' show this Friday. The live performance will then be available for streaming funtimes on Google Play UK shortly afterwards.

Says Google UK's Stephen Rosenthal: "Through Google Play Music, we're looking to shake up the way music lovers connect with the bands and tracks they love. What better way to show our ambition than lay on this world first with Sam Smith, one of the hottest acts on the planet today".

Meanwhile Sammy-boy added: "It's incredible to be part of a UK first. 'Stay With Me' being broadcast live to the nation will be a very special moment for me".

Festival PR tips shared at The Great Escape, and now in the CMU Digest Report
The conclusions of CMU's recent survey of music media about the ways festivals PR themselves are shared in the latest edition of the CMU Digest Report, now on sale, alongside three other papers based on the insight strands presented by CMU at The Great Escape Convention in Brighton earlier this month.

Sam Taylor of CMU Insights presented the top-line findings of the survey at the start of the Festival Business strand at The Great Escape, which included:

1. Give media proper access: Make press accreditation as simple as possible and provide up-front information preferably ahead of public release under embargo. While ticket allocation will be tight, if just a single journalist is allowed in from one publication, they won't have as good a time, and that might be reflected in the coverage. And remember media today operate on incredibly tight resources and ad revenue generated from your coverage will be unlikely to cover the costs of getting to and being at your event.

2. Provide good facilities: News and feature coverage during the event is arguably most rewarding for both media and festival, but publications need decent facilities onsite to help with this. Providing some refreshments and a smiling face will also make the experience for media more pleasurable. But most importantly, power sockets and really good internet!

3. Partner with us, but be strategic: An increasing number of media are looking to do content partnerships with festivals, where they get special access to line-up news, artists and other information. Though festivals should only look to do a small number of these - and think about which media work best for your event. It isn't necessarily the magazine or website with the biggest circulation or traffic.

4. Be a true champion of your line-up: Ultimately a media will decide whether to cover a festival based on who is playing. Where possible, keep an eye on what artists on your line-up specific media are already championing and hone in on that.

You will find a more detailed summary of what the editors of various leading music websites told CMU about the ways they approach festival coverage in the Report, which you buy via the CMU Shop here. Or sign up to become a CMU Digest subscriber here and receive this and future reports, plus the weekly CMU Digest email, summarising the biggest stories and events in music each Friday afternoon.

New CMU Insights season kicks of next week
The latest season of CMU Insights training courses kicks off next week, with eight evening seminars over eight weeks providing a concise overview of the music business in 2014, with focuses on music rights, fan engagement and artist deals.

The seminars are led by CMU Business Editor Chris Cooke who says: "As I said in my keynote at The Great Escape earlier this month, there's lots to be optimistic about in the music business in 2014, though the real opportunities lie in building more cohesive businesses around our artists, capitalising on the direct-to-fan relationship to provide more and better products and services to core fanbase, from obsessives to more casual fans".

He goes on: "To make the most of this, artists increasingly need business partners who understand the wider industry, and specialists who understand how they fit into the wider artist-centric business model. Which is where this programme fits in, whether you are a manager, label, publisher, promoter, marketer or other service provider, over these eight seminars we cover the latest developments in all aspects of the industry and, crucially, explain how everything fits together to build successful artist businesses".

Tickets are available for each course at £45, or you can get into all eight sessions for £299. Bookings can be made online, with the first session - a concise overview of all the strands of the music business, and the way artists form partnerships with music companies - taking place in East London next Monday, 2 Jun, at 6.30pm.

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

Big Music Project Competition to hunt down new musical talent
The BPI's Lottery-funded Big Music Project has announced a talent contest to seek out young musicians from around the UK and get their music heard by "top industry executives".

Also involved in the project are Global Radiop's Capital and Classic FM brands, as well as youth work charity UK Youth, and the competition will be staged in the run-up to next year's BRIT Awards, with the grand final taking place during the week of the ceremony next February.

Starting in November this year, The Big Music Project Competition will begin touring thirteen UK towns and cities finding musicians between the ages of fourteen and 24, hitting Belfast, Glasgow, Gateshead, Leeds, Manchester, Liverpool, Leicester, Birmingham, Cardiff, Bristol, St Austell, Portsmouth and London.

As well as getting their music in front of industry folk, the winners of the competition will be given the opportunity to record at Abbey Road Studios and perform at the Albert Hall as part of the Classic FM Live series.

Find more information here.

  Approved: Sailor & I - Turn Around
We all like a bit of Scandinavian pop, don't we? Luckily, Sweden's Sailor & I (singer and producer Alexander Sjoedin to his mum) has obliged us by following up last year's debut single 'Tough Love' with an excellent new track that manages the unique trick of sounding hot and summery, whilst remaining imbued with a chilly frostiness at its heart.

'Turn Around' - the first song from a new EP of the same name - is built on pulsing synths, post-punk bass and ebullient, swelling strings, whilst clattering percussion that sounds like canons being fired and heartfelt vocals all add to the sense of anthem in waiting. Both a song and a soundscape in its own right, this is lush, expertly crafted pop music that manages to have its cake and eat it.

The EP is released on 30 Jun, but you can have a listen to 'Turn Around' right now.
CLICK HERE to read and share online
 

Jarvis Cocker to focus on songwriting during 6 Music sabbatical
What with all the radio DJing and Faber editing-at-larging and Pulp reuniting, that there Jarvis Cocker hasn't had much time to work on his songwriting of late, but that's the focus for the rest of the year, or so he has told The Guardian. He wants to see if he has "got any interesting songs left to write".

Confirming he is still "110% committed" to music, the Pulp man said: "Whether it's to impress girls, or whatever, music is the thing that has become my means of self-expression, so this year I'm taking a break from the radio show to find out if I've got any interesting songs left to write or whether I've written them all".

Meanwhile on the Pulp reunion, and the oeuvre he was performing there, he went on: "It was quite good because we had some distance from the songs and we weren't trying to flog them to people. We spent a lot of time standing in horrible dirty rooms with no heating trying to write songs, flailing around in the dark basically, and somehow in that process we wrote some stuff that still sounds all right. So it was good to realise that we hadn't wasted all our youth - that we'd done something that had a bit of life and energy in it".

Macaulay Culkin's pizza-themed band proves unpopular, despite kazoo solos
The debut UK tour of Macaulay Culkin's pizza-themed Velvet Undergound covers band The Pizza Underground has not been going very well. Gigs in Manchester and Nottingham were both disrupted last week, the former when Culkin stormed off stage when a fan interrupted his kazoo solo.

According to the Manchester Evening News, the band's show at the city's Zoo venue as part of the multi-city Dot To Dot festival first started to go wrong as some audiences members threw plastic beer glasses at Culkin.

He later reportedly walked off stage after someone failed to show proper reverence to his playing of the kazoo. Although coaxed back on stage, the show was then cut short due to a stage invasion.

The following night in Nottingham, for another Dot To Dot show, Culkin handed out free pizza to the audience before the band began playing, but they were nonetheless again pelted with plastic beer glasses and booed during their performance, reports The Nottingham Post.

Although a number of people were ejected from the venue, the pelting continued and the band left the stage after just fifteen minutes, when a pizza box hit one of Culkin's bandmates.

In a statement to the Post about the latter incident, Dot To Dot's organisers said: "After barnstorming sets at both Dot To Dot Manchester and Dot To Dot Bristol, it's such a shame that some members of the crowd had to ruin what was set to be an excellent show. A sentiment echoed by the band themselves. Hopefully they'll get to play in Nottingham again one day soon".

 
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 andy@unlimitedmedia.co.uk (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 chris@unlimitedmedia.co.uk (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.
Email aly@unlimitedmedia.co.uk (except press releases, see below)
   
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 sam@unlimitedmedia.co.uk 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.
Email caro@unlimitedmedia.co.uk
Send ALL press releases to musicnews@unlimitedmedia.co.uk - this is checked daily by the whole editorial team meaning your release will definitely get to the right person.

For details of the training and consultancy services offered by CMU Insights click here - Andy and Chris are also available to provide music business comment, just email them direct.

To promote your company or advertise jobs or services to the entire UK music industry via the CMU bulletin or website contact Sam on 020 7099 9060 or email ads@unlimitedmedia.co.uk
© UnLimited Publishing at division of UnLimited Media

CMU, Fl2 Unicorn House, 221 Shoreditch High Street, London, E1 6PJ.
t: 020 7099 9050 (editorial) 020 7099 9060 (sales)

publishing@unlimitedmedia.co.uk | complaints@unlimitedmedia.co.uk