WEDNESDAY 28 JANUARY 2015
TODAY'S TOP STORY: So it seems that the main qualification for joining the jury in the upcoming and set-to-be-entertaining 'Blurred Lines' court case may just be that you've never previously heard one of the records at the heart of the case, Marvin Gaye's 'Got To Give Up'. As previously reported, the terrible twosome behind the pop monstrosity that is 'Blurred Lines' - Pharrell Williams and Robin Thicke... [READ MORE]
 
TODAY'S APPROVED: Having eeked out a handful of tracks over the last two years, Clarence Clarity is set to release his debut album, 'No Now', on 2 Mar through Bella Union. His output may have been slow and sparse, but the project has had a startling clarity of vision from the outset. Each new bold, warped funk track comes coupled with a garish and unsettling video. Everything about the venture... [READ MORE]
TOP STORIES Gaye record will not be played in court during Blurred Lines trial
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LEGAL Rdio removed as defendant from latest pre-1972 lawsuit
Gary Glitter testifies in sex abuse trial
Ian Brown testifies in Fred Talbot's indecent assault trial
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LIVE BUSINESS Challenges for small music venues outlined in new Music Venue Trust report
Gary Gersh joins AEG Live
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DIGITAL & D2F SERVICES Snapchat adds content channel
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AWARDS Artist And Manager Awards to return
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ONE LINERS Katy Perry parody, Tom Petty clarity, How To Dress Well and Tālā collabrity (shut up), and other things that don't fit this pattern
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AND FINALLY... Brian Harvey Radio 1 remarks "absurd and offensive", say BBC
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OFFICE SPACE AVAILABLE
Office space to rent with Full Time Hobby and SALT Films. Music and film companies looking for another likeminded company to share a new office space at Tileyard Studios. £300 per desk including most bills (phone separate). For full information click here.
 
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LISTEN UP - OPERATIONS MANAGER (LONDON)
We are currently seeking an Operations Manager to join our team. This is a broad role, which incorporates Operations, Office Management, HR and business support to the Directors. The Operations Manager is responsible for ensuring the day-to-day operations of the business run smoothly and that effective methods are put into place so that the company runs to its maximum productivity.

For more information including a full job description and how to apply click here.
   
LISTEN UP - PERSONAL ASSISTANT TO DIRECTOR (LONDON)
We are currently seeking an extremely organised, positive and proactive Personal Assistant to join our team. The Personal Assistant is responsible for providing full business and personal support to the Director. The ideal candidate will have at least two years experience supporting to Director level, ideally within a music or media environment.

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KILIMANJARO LIVE - DIGITAL CAMPAIGN MANAGER (LONDON)
Kilimanjaro Live Ltd are concert and festival promoters and organisers. We are looking for a Digital Campaign Manager to join our Marketing Team. This role will involve overseeing the planning, booking and implementation of digital ad campaigns across Kilimanjaro live tours and shows, maintaining the Kililive.com website and overseeing the social media output of the company.

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DOMINO - D2C CO-ORDINATOR (LONDON)
Domino is looking for a D2C Co-ordinator to join our D2C team. This is a full-time role based in the London office. The candidate will report to the D2C Manager and work across all D2C campaigns. The role will suit someone who has existing retail or mail order experience/warehouse experience. The ability to multi-task and to be organised is critical to being successful in this role.

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MUSIC CONCIERGE - PLAYLIST DESIGNER (HERTFORD)
Music Concierge, the award-winning music consultancy for boutique hotels and luxury brands, is looking for a Music Team Assistant to join our small but expanding creative team. This is an excellent starter role giving the opportunity to work in the music industry with an exciting growing company.

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MUSIC CONCIERGE - MUSIC TEAM ASSISTANT (HERTFORD)
Music Concierge, the award-winning music consultancy for boutique hotels and luxury brands, is looking for a Music Team Assistant to join our small but expanding creative team. This is an excellent starter role giving the opportunity to work in the music industry with an exciting growing company.

For more information including a full job description and how to apply click here.
   
SECRETLY CANADIAN DISTRIBUTION - HEAD OF INTERNATIONAL SALES (LONDON)
Secretly Canadian Distribution seeks Head of International Sales to join our established sales team.

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SECRETLY CANADIAN DISTRIBUTION - PROJECT MANAGER, EUROPE (LONDON)
Secretly Canadian Distribution is seeking a full-time Project Manager (Europe) for our distributed label group.

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MAMA & COMPANY - WEB DEVELOPER (LONDON)
We are looking for a talented web developer that is passionate about technology and wants to be an integral part of a dynamic and innovative digital team. If you want to build & develop some of the finest websites, work with cutting edge digital technology and make a difference in the music industry whilst reaching music fans worldwide, this is the job for you.

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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
 

Gaye record will not be played in court during Blurred Lines trial
So it seems that the main qualification for joining the jury in the upcoming and set-to-be-entertaining 'Blurred Lines' court case may just be that you've never previously heard one of the records at the heart of the case, Marvin Gaye's 'Got To Give Up'.

As previously reported, the terrible twosome behind the pop monstrosity that is 'Blurred Lines' - Pharrell Williams and Robin Thicke - are accused of nicking a sizable slice of the Marvin Gaye classic for their 2013 hit.

While both stars deny that claim - Thicke says he was too drunk and drugged up at the time to have had any input on the record whatsoever, while Williams noted of Gaye "he's an Aries, I respect him" - core to the defence are some copyright law technicalities.

In particular, what elements of Gaye's song are actually protected by copyright. It's the song rather than the recording copyright that is under the spotlight, and Thicke and Williams' lawyers argue that only the core composition, as represented in the sheet music, enjoy protection. Any bips or bops or 'yeah, yeahs' that appear in the final recorded version of the song, they say, are outside of the copyright. Which is important because it's arguably those extra bits n pieces that 'Blurred Lines' borrowed.

As previously reported, with that in mind Team Lines requested that neither 'Blurred Lines' nor 'Got To Give Up' be aired in the courtroom in their released form, arguing that instead the core compositions of both should be played on a keyboard, so that the jury decide from that, and that alone, whether there has been any infringement. And the judge in the case has now agreed with that request.

Noting that this whole dispute began when Williams and Thicke filed legal papers to secure confirmation that their hit did not infringe, Richard Busch, representing the Gayes, was unsurprisingly critical of this decision yesterday.

According to The Hollywood Reporter, he said: "Pharrell Williams and Robin Thicke started this lawsuit against the Gaye family, but then filed motions asking the court to prohibit the playing of Marvin Gaye's song, which prevents the jury from comparing the songs. We know of no similar case where this has occurred, and do not believe that a truly fair trial can take place if the jury cannot hear and compare both songs. We are currently exploring all of our options".

But speaking for the 'Blurred Line' peddlers, legal man Howard King welcomed the ruling, saying: "A truly fair trial requires only a comparison of the compositions, not the sound recording which is not owned by the Gayes. Given the fact that the compositions have absolutely no substantial similarities, there is little chance the Gayes can prevail at trial or on any threatened appeal".

As we speak all of this is set to kick off in court on 10 Feb.

Rdio removed as defendant from latest pre-1972 lawsuit
Rdio says that is has been removed as a defendant from a new lawsuit focused on the 1972 issue in US copyright law.

As previously reported, following on from previous litigation pursued by other parties against satellite radio company Sirius and streaming service Pandora, the label side of an American media firm called Zenbu last week sued a stack of digital music services alleging they were all streaming pre-1972 sound recordings it controls without licence.

There has been much debate in the US, where AM/FM radio stations do not to pay royalties to the owners of sound recording copyrights but federal law says satellite and online radio services have to, what the rule is with recordings that pre-date 1972, because US-wide federal law does not apply to records released before that year.

The debate has centred on whether state copyright laws that protect older material, and which don't specifically mention satellite or online services, give labels a similar right to payment, even though AM/FM stations have never paid royalties for that catalogue either. Some early judgements on the Sirius/Pandora cases last year suggested that, actually, they do.

The new lawsuit accuses an assortment of digital services including Slacker, Songza, iTunes Radio, Grooveshark, Sony Music Unlimited and Rdio.

The specific allegations against each service aren't clear, though you'd expect that last year's landmark rulings (which are still being appealed) would only affect streaming services operating under a licence from collective licensing agency SoundExchange, and which had opted to not pay royalties on pre-1972 records. Which means only those services operating Pandora-style interactive radio streaming rather than fully on-demand Spotify style set-ups, which need licenses directly from each record company to play any recordings.

Now, Rdio's freemium option is of the Pandora model, though nevertheless its inclusion as a defendant on the new lawsuit was surprising. And most surprising, it seems, to Rdio itself, which is damn certain it has no liabilities here.

And seemingly Zenbu's lawyers have quickly agreed, dismissing their action against this particular streamer. A spokesperson for Rdio told CMU: "We're pleased the lawsuit was dismissed. Rdio respects copyright and is committed to compensating artists for their creative works and pays royalties for all songs we offer".

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Gary Glitter testifies in sex abuse trial
Gary Glitter, real name Paul Gadd, testified at Southwark Crown Court yesterday, denying ten charges of sexual abuse against children in the 1970s and 80s.

As previously reported, the trial began earlier this month, and sees Gadd accused of abusing three girls between 1975 and 1980, including a "clear and unmistakable attempt to rape" a school-age girl.

Saying that he had used his autobiography to "charge" his memory about his actions at the time of the alleged crimes, the singer claimed wig maintenance as his alibi.

He said that he had begun losing his hair as a teenager, and had worn a wig throughout his pop career. After each show, he said, he had returned to his hotel to fix the hairpiece and thus would not have been able, as it is claimed, to assault any of his fans immediately following a gig.

"I never had anybody backstage after a performance", he told the court, according to the BBC. "Because this was a major problem in my life, or rather a major chore. I had to deal with it".

The case continues.

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Ian Brown testifies in Fred Talbot's indecent assault trial
Providing some celebrity intrigue to a trial that almost certainly didn't need it, Ian Brown yesterday testified against former Granada TV weatherman and 'This Morning' regular Fred Talbot, who is accused of ten counts of indecent assault against five boys, dating from the late 1960s to the early 1980s when he was working as a teacher.

Brown is neither a victim nor a witness of the actual alleged assaults, but he was taught biology by Talbot when he attended Altrincham Grammar School in the 1970s. And in his testimony at Manchester Minshull Street Crown Court yesterday he recalled Talbot's alleged inappropriate behaviour in the classroom.

According to the BBC, while recalling one class that occurred when he was aged eleven, Brown told the court how Talbot had shown his pupils "a three minute film on a Super 8 projector of a guy walking into a room dressed in denims; he sits on bed, takes his trousers down and masturbates. It was only a few years later that I realised it was probably a gay porn film. It wasn't a sex education film. It was years later I realised it was wrong to show us that film".

Brown went on to describe a lesson where Talbot "asked the class if any of us had ever masturbated. He wanted to know who was successful in the masturbation. He asked boys to raise their hands". Talbot would then have "private words" with those who had done so. "I can remember sitting there wondering, 'What is he saying to them?'"

Talbot's defence lawyer countered that her client was delivering sex education, as you might expect in a biology class. "I doubt that's on the curriculum", the singer responded. While, when asked why he never told his parents about these incidents at the time, he replied:
"It was 1974. I was eleven and the teachers ruled with an iron rod. It would have been an embarrassment to tell my parents things like that".

Talbot denies the charges against him. The case continues.

Challenges for small music venues outlined in new Music Venue Trust report
The Music Venue Trust has published an interim findings report into challenges currently facing small venues in the UK. The full report is set to follow in March.

Amongst the issues facing venues interviewed for the report are the two covered heavily in the media recently, complaints about noise (often from a single person) and changes to planning legislation making it easier for developers to convert buildings containing or next to venues into flats or offices.

Diminishing audiences at a grass roots level were also of concern, with various causes suggested. The recession was an obvious one, while some venue operators also said that the student audiences they rely on had dwindled, in part due to increased tuition fees.

Also coming in for criticism was the Live Music Act, which removed the red tape surrounding putting on small gigs in pubs and such like. In doing so, respondents said, the Government created more competition for venues focused on new music, proving right predictions made by former Luminaire owner Andy Inglis in 2013.

The music publishing sector's collecting society PRS For Music also comes in for heavy criticism in the report, accused of trying to collect money from venues that don't play PRS-registered music and charging more than many small venues can afford in fees, which then put them at risk of going out of business.

Announcing the report, Music Venue Trust CEO Mark Davyd said: "There is a national challenge to our live music venue circuit brought about by a sequence of events and developments which have left that network in a perilous and precarious state. Music Venue Trust feels that we need to take an overall view of the challenges out there".

He went on: "We need to be openly discussing and airing those challenges with our live music industry colleagues, and working together to tackle that range of issues so we not only maintain and preserve this circuit but actively start to improve it. We feel that past failures to talk about the ecosystem of UK music have meant that people who don't actively work in it perhaps don't understand the structure of the industry, or the vital role that this network of venues plays in maintaining it".

"The UK is, quite literally, a music world leader, punching vastly above its weight in terms of the impact our artists and musicians make across the globe. A huge proportion of the music we export, which generates thousands of jobs, develops the artistic careers of our best writers and musicians, and is such an important part of the UK's standing on the international cultural stage, starts in a small venue. This is the grassroots of our industry, the research and development department of our major international music industry partners. It is impossible to overstate this enough; no Troubadour or 12 Bar Club, no Adele".

"Our UK music scene, arguably the best in the world, is built on a robust ecosystem that starts with a first live concert in front of as few as ten people on a Tuesday night in Guildford and climaxes with three nights at Wembley Stadium. And it's not just the musicians - our industry and other parts of the creative sector are filled with people who cut their teeth promoting, booking or simply working the door at a small venue. This small venue circuit is the training ground and the entry level experience for our lighting engineers, sound technicians, and cultural organisers at all levels; we need to ensure we do all we can to protect it".

Read the interim report here. The full report will follow on 9 Mar.

Snapchat adds content channel
The Snapchatters added a new element to their app yesterday called Discover that pulls content from various partners into the service.

It's seemingly part of the popular picture and video messaging app's plan to diversify, in no small part to drive new revenues via the "gorgeous advertising" which the tech company promises will appear in the Discover channel.

For content owners it provides an opportunity to tap into Snapchat's large network of users (especially 'The Kids'). While some have dabbled with using Snapchat as a marketing channel before, doing so hasn't been as straightforward as with many other social network type flim flams.

Amongst the partners providing content at launch are Vice, Comedy Central, Yahoo!, National Geographic, Cosmopolitan and the Daily Mail, which is certainly eclectic. On the music side the first partner is Warner Music, which seems to have been transformed from the major that says "nooooooooooooo!" to all things new and digital into the major that says "yeeeeeeeeeeeeeeeeeeaaaaaaaaaaaaaaaaaaas!" to everything.

Though who cares about all those has-beens, I'm going to crack open my Snapchat app and seek out all that "gorgeous advertising". It's the future, don't you know.

  Approved: Clarence Clarity
Having eeked out a handful of tracks over the last two years, Clarence Clarity is set to release his debut album, 'No Now', on 2 Mar through Bella Union.

His output may have been slow and sparse, but the project has had a startling clarity of vision from the outset. Each new bold, warped funk track comes coupled with a garish and unsettling video. Everything about the venture demands your attention, and is sent out with a confidence and attention to detail rarely seen - an achievement probably aided by him testing the water with an earlier and similar but abandoned (and also once approved) project.

A UK tour supporting Jungle commences in February, culminating in a show at The Roundhouse in London on 3 Mar. And you'll also be able to catch him at this year's Great Escape.

You should acquaint yourself with his entire YouTube channel, but I'll start you off with 'Those Who Can't, Cheat'. Or if it's a bit early for such bright colours, here's his latest SoundCloud release, 'Meadow Hopping, Traffic Stopping, Death Splash'.
CLICK HERE to read and share online
 

Artist And Manager Awards to return
Those of you who had Wednesday 25 Mar in the sweepstake for the date of the next edition of the Artist And Manager Awards are going to be mightily pissed off. Because after many weeks of in-depth judging by some of the best in the awards-staging industry, the Music Managers Forum and Featured Artist Coalition have decided that Thursday 26 Mar is the most deserving date for this most esteemed event. A controversial decision I know, but sometimes awards shows have to break the mould and think big.

Let's just hope that this avant garde approach to award night date choosing fits in with the schedule of one Imogen Heap, because she's already down to get the Pioneer Award in recognition of "her consistently bold and novel approach to writing, production and performance, as well as her outstanding creative output and innovative fan engagement". The artist and manager community will be heaping - yeah? - the praise on to Imogen herself come the 26 Mar, providing she can locate East London's The Troxy.

The event, by the way, in case you wondered, is sponsored by tickets app Dice, the co-founder of which, Phil Hutcheon, said these words: "The MMF and FAC represent the most influential and innovative managers and artists. We have a shared mission to grow the music industry by embracing new technology and transparency and we're honoured to be a part of the awards".

Tickets here.

Katy Perry parody, Tom Petty clarity, How To Dress Well and Tālā collabrity (shut up), and other things that don't fit this pattern

Other notable announcements and developments today...

• East India Youth will release his second album though XL, the label has announced. 'Culture Of Volume' will be out on 6 Apr.

• I've never seen Ultimate Painting do any painting. But before today I'd never seen one of their music videos either. That's because they hadn't made one. But now they have! Here it is. Now get painting, boys.

• One component required in the construction of the PC Music empire, GFOTY, has released a new mix. And that's always a good thing. It's called 'Cake Mix' (see what she did there?) and features a cover of 'All The Small Things' by Blink 182.

• I don't much care for How To Dress Well but I really like Tālā, so it's a confusing experience listening to their new collaboration. Especially as there are two versions of it. Here's one, and here's the other. And here's a video showing how they created it in one day, as part of Your's Truly's Songs From Scratch thing.

• The CMU approved Yumi Zouma will release their second EP, 'EP II', on 10 Mar. There are five songs on it. One of them (the third one) is called 'Catastrophe'. This is its video.

• Will The Leisure Society release a new album called 'The Fine Art of Hanging On' on 13 Apr through Full Time Hobby? Yes. And will they also be touring the UK that same month? Yes. And is this a SoundCloud link to a song from the album called, 'Tall Black Cabins'? Why don't you just fucking find out for yourself for once?

• The Charlatans will headline Brooklyn Bowl under the O2 Dome on 20 Feb. Part of that whole BRITs Week thing, the show will feature support from We Are The Ocean and Superfood.

• Purity Ring are going to be touring the UK around end of April/beginning of May sort of time. So that's good. The London show will be at the Shempire (aka the Shepherds Bush Empire, which is a name too long to say or think, let alone type out in full) on 30 Apr. New album in March. Track here.

• "Wait a minute", you screamed in the middle of the night last night. "Now that Tom Petty has a songwriting credit on Sam Smith's 'Stay With Me', does that mean he could potentially win a Grammy for Best Song as a result?" No. Come on, that song isn't going to win. Also, the rules say Petty's not eligible.

• It's OK, someone has created a Katy Perry Super Bowl parody song. Tim & Eric's Tim Heidecker, to be exact. Please do remember, it's not actually a legal requirement of parodies to be funny. It would have been preferable in this case though.

Brian Harvey Radio 1 remarks "absurd and offensive", say BBC
To be fair, they'd probably rather not have been asked to comment at all, but comment they have at the NME's request, and the BBC's opinion of former East 17 member Brian Harvey's recent comments on their top pop radio channel? "These comments are clearly absurd and offensive".

To recap, initially beneath of video of Rae Morris doing an East 17 cover on Radio 1's 'Live Lounge', and subsequently on Twitter, Harvey wrote last weekend: "You will play anyone else as long as it's not me eh. Well done Rae Morris, but Radio 1 you suck fucking arse you bunch of wankers. Everyone is scared to tell you but I'm not. You fucking paedo protecting, shit music playing, corporate wankstain fuck heads. Fuck you. Fuck your radio station. Fuck your staff. Stick your shitty commercial poo bag station up your peado protecting arse".

To be fair, in return, to Harvey, while his remarks may have been a little "offensive", his mission was clearly to "offend", so that's hardly a criticism.

As for "absurd", well, his comments were mainly opinion surely? Assuming the "arse sucking" and "wanker" allegations were intended to be metaphorical, and the big bad 'c' word near the end was meant to imply Radio 1 is 'commercial' in style rather than status. OK, the "paedo protecting" bit is contentious and unproven, but it's not an especially new allegation in the historic sense.

And I know for a fact that there's at least two corporate wankstain fuck heads still working within the Corporation, so his use of the plural in that regard certainly wasn't absurd. Though I'll concede that it would indeed be more or less impossible to stick a shitty commercial poo bag station up any kind of arse, let alone one busy protecting peados.

But it's possible I'm giving all this rather more consideration than was actually required. I'm mainly killing time really, while we await Harvey's response to the BBC's response, which I reckon will be YouTube gold. In fact, there's an entire BBC Three series in all this. Or there would be if the wankstain fuck heads at the Beeb weren't busy all but killing the channel off.

 
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 and business news, leads on the CMU One Liners, and contributes to the CMU Approved column. She also coordinates the daily cultural tips on CMU's sister site 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.

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