THURSDAY 16 APRIL 2015
TODAY'S TOP STORY: Phew, all three of the major labels might just have their long running disputes with artists over download revenues fully resolved at least three and half weeks before the bottom falls out of the download sector and the whole selling-MP3s-thing speeds into oblivion. As expected, Universal Music has followed the lead of Sony and Warner in filing proposals to settle class action lawsuits in the... [READ MORE]
 
TODAY'S APPROVED: If feels like a while since we last had some hefty rock in the Approved column, so Australian quartet Service Bells are a welcome sight. The band released their debut EP, 'Service Bells', this week, showcasing a sound that is reminiscent of Queens Of The Stone Age with a touch of 80s goth thrown in. Two years on from their debut single, 'Metropolis', their sound has... [READ MORE]
TOP STORIES Universal proposes settlement in long running digital royalties dispute
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LABELS & PUBLISHERS IFPI tackles artist payments in annual stats report
Eric Mackay joins Warner/Chappell
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MARKETING & PR Spotify steps up its representation in Washington
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DIGITAL & D2F SERVICES Geoff Barrow says he earned £1700 from 34 million streams, but where had that money been first?
Google creates virtual tour of Abbey Road Studios
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MEDIA TeamRock to step down from DAB, expand online via 7digital alliance
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EDUCATION & EVENTS MPA event to give publisher perspective on digital developments
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OBITUARIES Percy Sledge 1940-2015
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ARTIST NEWS Union J's Josh Cuthbert fine after car crash
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ONE LINERS Snoop Dogg's weed investment, Louis and Liam's songwriting japes, Chris Hadfield's space album, and more
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AND FINALLY... Morrissey says Glasto not animal friendly
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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.
 
 
NINJA TUNE - PRODUCT MANAGER (LONDON)
Ninja Tune is looking for an experienced high level product manager working across our main imprints Ninja Tune, Big Dada and Counter Records. The job involves managing record release campaigns from beginning to end of campaigns working closely with the A&R, production, marketing, digital and international teams.

For more information including a full job description and how to apply click here.
   
RESIDENT ADVISOR - TICKETING ACCOUNT MANAGER (LONDON)
Resident Advisor is looking for an ambitious and driven person with an interest in music, events and youth culture to manage, retain and develop promoter ticketing relationships.

For more information including a full job description and how to apply click here.
   
THE BLUES KITCHEN - PROMOTIONS MANAGER (LONDON)
The Blues Kitchen is seeking an enthusiastic individual to join the Marketing & Promotions team to assist with the opening of their new venue. The role will involve an extensive working week, which will require exceptional time management.

For more information including a full job description and how to apply click here.
   
MUSIC CONCIERGE - PLAYLIST DESIGNERS (HERTFORD)
Music Concierge, the award-winning music consultancy for boutique hotels and luxury brands, is looking for music Playlist Designers to join our small but expanding creative team.

For more information including a full job description and how to apply click here.
   
LIVE NATION - SOCIAL & CONTENT MANAGER (LONDON)
We’re looking for a Social and Content Manager who is passionate about music, social media and digital content. You will be responsible for working with the Head of Digital Marketing to develop and implement our social and content strategy to grow reach, engagement and first party data.

For more information including a full job description and how to apply click here.
   
SJM CONCERTS - MARKETING ASSISTANT (MANCHESTER)
The purpose of this role is to assist and support our marketing team to maximise exposure of events promoted by SJM Concerts. To assist with the implementation of our marketing campaigns to 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.
   
LIVE NATION - HEAD OF SALES & MARKETING, VIP NATION (LONDON)
Reporting to the SVP of VIP Nation, this role is responsible for the day-to-day management of VIP Nation’s touring rights, associated key relationships and its sales and marketing function.

For more information including a full job description and how to apply click here.
   
AIRMTM - JUNIOR ACCOUNT MANAGER (LONDON)
We’re looking for a keen, bright, music-obsessed individual, who has worked in the industry for at least a year, to join our small PR team in Shepherd’s Bush.

For more information including a full job description and how to apply click here.
   
MN2S - DIGITAL PR ASSISTANT (LONDON)
Leading independent booking agency MN2S is looking for a Digital PR Assistant. You will be responsible for leveraging existing media contacts to gain coverage around MN2S & the artists we represent and building a solid network of media contacts to gain coverage of the company and our artists.

For more information including a full job description and how to apply click here.
   
LISTEN UP - PRESS INTERN (LONDON)
We are currently seeking an energetic, enthusiastic Press Intern to provide support to our expanding Press Department. The ideal candidate will be highly organised, have a good knowledge of various electronic music genres, good writing skills and a passion for press. This is a full-time paid internship for six months.

For more information including a full job description and how to apply click here.
   
16EIGHT - ACCOUNT MANAGER (LONDON)
16eight is a creative design and marketing studio located in East London. We are looking for a full time Account Manager to join the team from May 2015. This is a great opportunity for someone interested in working as part of a new and dynamic yet small team, managing multiple projects covering the arts and music, travel and tourism, NGO, charity, fashion and events sectors.

For more information including a full job description and how to apply click here.
   
AWAL/KOBALT LABEL SERVICES - SENIOR CLIENT & LABEL MANAGER (LONDON)
We are looking for an experienced Client/Label Manager to be based at the Kobalt office in London. The Client/Label Manager is the main point of contact for our clients into the company, and will be responsible for the co-ordination of releases, client support and product development.

For more information including a full job description and how to apply click here.
   
POLLSTAR UK - SALES ACCOUNT EXECUTIVE (LONDON)
The current opening for an Sales Account Executive offers a dynamic career opportunity in the live music industry. Applicants should have a minimum of five years sales experience, preferably including sales management experience, sales training experience, strong references and solid computer skills.

For more information including a full job description and how to apply click here.
   
[PIAS] ARTIST & LABEL SERVICES - LABEL MANAGER (LONDON)
[PIAS] Artist & Label Services has one of the most experienced label management teams in the business. We are looking to add to the team and bring in a new label manager to work alongside us in supporting the broad range of labels with whom we work.

For more information including a full job description and how to apply click here.
   
DOMINO - DIGITAL ACCOUNT MANAGER (LONDON)
Domino is seeking a confident individual to oversee its digital account and sales initiatives, based in the London office. The position will manage key partnerships and initiatives across digital music and video service providers (such as iTunes, Spotify, Vevo and Amazon MP3) with a particular focus on the UK and European markets.

For more information including a full job description and how to apply click here.
   
SOLD OUT - DIGITAL DESIGNER (LONDON)
Sold Out is an independent full service advertising agency, specialising in arts and entertainment for 20 years. We love what we do, driven by a passion for creating innovative and inspiring campaigns that create a buzz and deliver results. You will be working as part of the creative studio, working closely with the design team to roll out campaigns to tight deadlines.

For more information including a full job description and how to apply click here.
   
HART MEDIA - PLUGGER (LONDON)
Hart Media is one of the UK's leading Radio PR agencies. Our clients have included Passenger, The Prodigy, Public Service Broadcasting, Sophie Ellis Bextor, Motorhead, Deaf Havana, Broncho, Lucy Spraggan, Madness, Darlia, Ward Thomas, Alison Moyet to name a few. We're looking for a passionate and enthusiastic music lover with at least one year's previous experience in radio promotions or similar role.

For more information including a full job description and how to apply click here.
   
ISOLATION NETWORK INC - ASSOCIATE, CLIENT OPERATIONS (LONDON)
Isolation Network, Inc. ("IN") is the parent company of INgrooves Music Group and INscribe Digital. IN's technology powers media distribution for INgrooves Music Group, INscribe Digital, as well as a number of corporate enterprise media clients. Operations Associate will be client facing, responsible for content ingestion, catalogue change requests and other operational activities.

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
 

Universal proposes settlement in long running digital royalties dispute
Phew, all three of the major labels might just have their long running disputes with artists over download revenues fully resolved at least three and half weeks before the bottom falls out of the download sector and the whole selling-MP3s-thing speeds into oblivion. As expected, Universal Music has followed the lead of Sony and Warner in filing proposals to settle class action lawsuits in the US over what split of download income labels should pay to their artists.

As much previously reported, labels often pay artists the same split of revenue on downloads as they do with CDs, but many artists argue that the record companies' costs and risks are less with digital. Moreover, pre-digital record contracts often made a distinction between 'sales' income and 'licensing' income, paying the artist much less on the former. Labels treat downloads as sales, but artists argue download income relates to 'licensing' deals done with the download stores.

Various artists took legal action on this issue, the most famous case being between Universal and early Eminem collaborators FBT Productions, a legal battle which the producers ultimately won. But Universal insisted that case did not set a wider precedent, even as a plethora of lawsuits citing the ruling in the FBT judgement were filed, and Sony and Warner started to quietly negotiate out of court settlements with their angry heritage artists.

But it emerged last month that Universal, having failed to get the digital royalty lawsuits filed against it dismissed, was now in settlement mode. According to The Hollywood Reporter, the mega-major is now proposing to set aside $11.5 million to settle with artists who believe they have been underpaid on download income to date, while committing to pay slightly more on downloads moving forward.

Though, as with the Sony and Warner settlements, the increase is modest. Universal will reportedly make the split paid on downloads 10% higher than what is paid on CDs, so that if an artist is on a 15% split on a CD sale, they'll get 16.5% on a download.

Which is someway off the 50% the artist could see if downloads were truly classified as licensing income. But there is an extra incentive, in that Universal will reform the way it deducts costs off income before any split occurs, another common bugbear of artists, especially when deductions seem to apply to things that are only really relevant in the physical product domain.

Of the $11.5 million, about $3 million will go to the lawyers, while artists specifically named on digital royalty lawsuits could see a one off $200,000 payment, with the rest divvied up between artists with similar contracts.

Which isn't anywhere near as radical a redistribution of the monies as some hoped when the digital royalty debate first began though - as with the Sony and Warner settlements - it's thought many artists will accept the modest income boost, rather than pursuing expensive full-on litigation which could run for years, just as the download market is going into freefall. Meanwhile the biggest artists with more resources could well have scored secret backroom deals that are more favourable.

The mega-major also accepts no wrong-doing as part of the settlement, saying in a statement: "Although we are confident we appropriately paid royalties on digital downloads and adhered to the terms of contracts, we are pleased to amicably resolve this matter and avoid continued legal costs".

Amongst the specific artist lawsuits that would be subject to the settlement - if it is accepted by the courts - are Chuck D, Rick James, Traffic, Whitesnake, The Temptations and Motels.

IFPI tackles artist payments in annual stats report
Staying with artist royalties, and following on from our reports yesterday on the latest set of stats from the International Federation Of The Phonographic Industry - including the top level stats and the trade group's call for a review on copyright law's 'safe harbours - it is also worth noting another section in the global record industry's annual report. In amongst the talk of booming streaming income but flat revenues overall, the IFPI included a section on what share of the record industry's monies are paid to artists.

This was presumably in response to increasingly noisy chatter in the artist community about the way digital income is split between different stakeholders, with many believing that labels should be paying a bigger cut of the money to artists in the digital domain, where the record companies' costs and risk are arguably less than with CD sales.

The labels - and especially the majors - have rarely gone on the record on this debate, but the IFPI says that it has reviewed a stack of figures and reckons that relatively speaking artists are already seeing a bigger cut of recorded music revenues today than in the peak of the CD era, in that artist pay-outs have declined slower than overall industry revenues.

Or in the words of the IFPI: "In order to better inform this discussion, we conducted research in 2014 to obtain an accurate picture of how royalty payments have changed as the market has shifted from physical sales to digital channels".

"Industry data compiled by IFPI from the three major companies - covering local sales for locally signed artists in eighteen major markets outside Japan and the US in the five year period to 2014 - shows that while sales revenue fell 17%, total artist payments - in the form of royalties and unrecouped advances - declined much less in real terms (down 6%) and increased significantly as a share of sales revenue, by 13%".

The trade group concludes: "Over the five year period, the data shows that total payments by record companies to local artists totalled more than $1.5 billion across the eighteen markets".

Although it's interesting to see the IFPI even responding to this debate in its annual report, it seems unlikely the artist community will be convinced by that statement, not least because of the constraints employed in the trade group's stats review. And, given that statement relates to major labels only, many in the indie label community - especially those who are offering better deals for artists in the digital domain - are likely to pick holes in the figures as well.

Indeed, Cooking Vinyl boss Martin Goldschmidt has already questioned measuring artist splits based on revenue rather than profit. He told reporters yesterday: "An old finance director once said that revenue is vanity and profit is sanity, so the focus on revenue risks missing the point. The margin on digital (due to decreased costs) is at least 50% better than the margin on physical. So a decrease in global physical revenues of 8.1% together with an increase in global digital revenues of 6.9% would suggest a net increase in profit. Most labels don't pass the benefit onto artists, but Cooking Vinyl and some other independents do".

So, the debate continues. And we'll be putting the spotlight on this very debate at the CMU Insights conference strand Music Licensing: Explained At Last at The Great Escape this May - more info here.

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Eric Mackay joins Warner/Chappell
Warner/Chappell yesterday confirmed the appointment of Eric Mackay to the role of Head Of Digital for Europe. The new role sees Mackay returning to the rights owner side of the digital sector, following his stint as VP International Business Affairs & Business Development at Vevo.

In his new role he reports into the Warner publisher's Director Of Legal And Business Affairs Jo Smith, who told reporters: "Eric is a widely respected executive with professional experience that encompasses a digital service, a collection society, an entrepreneurial start-up and artist management. His business acumen, deal-making skills, and well-rounded expertise make him ideal for this important role. I am delighted to welcome him to Warner/Chappell".

Before joining Vevo, Mackay worked at CELAS, the agency set up by EMI Music Publishing to license digital platforms across Europe, so he has been involved in the digital licensing domain for some time, especially on the publishing side. And he'll be sharing some of that knowledge next month as part of the aforementioned CMU Insights conference strand Music Licensing: Explained At Last at The Great Escape, info here.

Spotify steps up its representation in Washington
It's like my old Aunt Marge always used to say, "Why have one lobbying firm fighting your corner on Capitol Hill when you can have four?" It's why I've never had less that four Washington-based public affairs consultancies working for me at any one time.

So, well done Spotify, which has finally gotten its arse into gear and appointed a flurry of lobbying twonks to represent its political interests in the US. According to American political news organisation Politico, four lobbying firms formally logged on as working for the streaming music service on Tuesday, with various issues impacting on the digital firm seemingly on the agenda for the newly appointed reps, including competition law, licensing rules and "platform neutrality".

Politico calls it "an aggressive move", given that Spotify hasn't previously had any registered lobbyists working on its behalf in Washington, either agencies or in-house. The lobbying firms now working for the streaming business are Forbes-Tate, Peck Madigan Jones, Gibson Group and BakerHostetler.

Geoff Barrow says he earned £1700 from 34 million streams, but where had that money been first?
Earlier this week, Portishead's Geoff Barrow tweeted that he had received just £1700 from 34 million streams of his records, berating Universal Music "for selling our music so cheaply". But leaping to conclusions based on that figure alone didn't seem quite right to Dan Le Sac, so he started tapping away at his calculator.

"At first glance those numbers are shocking, almost vomit inducing", Dan writes in a new column for CMU. "But a few moments after reading those tweets - as I was counting to ten before reacting - my cogs got to turning and I started to think that can't be right. 0.005 pence per stream (five thousandths of a penny) seems obscenely out of whack with the half a penny-ish I see from, say, a Spotify stream".

He continues: "I'm not disputing Mr Barrow's numbers, and I'm certainly not challenging him to a duel or anything. That said, I would go for a close range naked paintball battle - I'm chubby so I can take the punishment. But I do think that those tweets don't tell the truth of the situation, there's far more to take into account than that final figure".

Tracing backwards, Dan consider the route of that money to its final destination in Barrow's bank account, estimating that the Portishead man saw less than 7% of the money generated by his music.

"For an industry that only has one product, the music that artists like Geoff Barrow create - and, to be fair, he does it better than most - does it seem right that the creators get such a tiny share?" asks Dan. "Ultimately, asking for your fair share isn't greedy".

Read Dan's column in full here.

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Google creates virtual tour of Abbey Road Studios
See, this is the problem, isn't it? Everyone in the music industry is pissed off with Google, but you just can't stop letting it come in and rummage around in your stuff, can you? Literally, in this case. With the help of Google, Abbey Road Studios has made available a virtual tour of the historic building, allowing you to wander around its hallways without the hassle of actually going there.

In-house producer Giles Martin says of the virtual tour: "Abbey Road Studios has been a hive of creativity and source of world-class recordings for more than 80 years. The artists using the studios have sold countless millions of records and have helped create popular culture as we know it today. It's an inspirational place and an honour for me to work there today. This collaboration with Google gives the outside world a great insight into the everyday workings of the studio and allows anyone to glimpse the magic that goes on inside the world's most famous recording studio".

Go and have a look around for yourself here.

TeamRock to step down from DAB, expand online via 7digital alliance
TeamRock yesterday announced that it would take its radio service off the UK's national digital radio network, instead focusing on online audio services, which it now intends to grow worldwide through an alliance with 7digital.

Billy Anderson, CEO of the company, which publishes rock magazines Metal Hammer and Classic Rock as well as running a rock radio service, told reporters: "TeamRock.com is a global business. We are proudly based in the UK, but the speed of our growth means we constantly have to adapt to global demands for our product".

He went on: "Our fanbase want streaming, downloads, specific programming, interviews and insight alongside the ability to listen back to what we produce at their leisure. This new collaboration with 7digital will allow us to provide that service. The future, for TeamRock.com, is to deliver audio that caters for how society wants to consume it. People are choosing when and how they access audio, rather than just traditional live programming".

Confirming the partnership from his side, 7digital CEO Simon Cole said: "We are proud to be the chosen partner for TeamRock as the company makes this major step change. Helping brands develop a compelling and creative audio presence in the rapidly growing global marketplace is a fundamental plank of our strategy at 7digtal and we look forward to playing our part in making TeamRock the destination for rock fans all over the world however they want to consume their music".

MPA event to give publisher perspective on digital developments
The Music Publishers Association has announced more details about a one-day seminar due to take place in London later this month called 'The Digital World: A Music Publisher's Perspective'.

Through a series of panels and presentations, the event will consider digital licensing, revenue models and distribution, with specific focuses on the US market and YouTube. Moderated by CMU Business Editor Chris Cooke, amongst the people set to share insights are IMPEL/MCPS's Jane Dyball, Warner/Chappell's Eric Mackay, Mediaclarity's Jeremy Silver, Sheridans' Tahir Basheer and Maria Forte from Maria Forte Music Services.

It all takes place on 29 Apr. Tickets are £60 plus VAT for MPA members with discounts for members of other trade groups too. Info here.

Percy Sledge 1940-2015
Soul singer Percy Sledge died from liver cancer on Tuesday this week. He was 74.

Born in 1940 in Alabama, Sledge was performing at weekends with a band called The Esquires Combo when he was introduced to record producer Quin Ivy in 1965. Ivy signed Sledge to a solo performer contract, after which they went to Muscle Shoals Sound Studio and recorded 'When A Man Loves A Woman', which would remain the song he was best known for throughout his career.

With that recording originally licensed to Atlantic Records, the label quickly bought Sledge out of his record deal with Ivy, the track hitting number one in the pop and R&B charts and remaining in both for several months. However, although he had co-written the song, he had given all the credits to his Esquires Combo bandmates Cameron Lewis and Andrew Wright, something he later described to Blues & Soul magazine as "the worst decision I ever made".

"I am not at all bitter", he went on. "It was God's will for me to give it to them. But if I had my time again, I wouldn't do it. Because of my children".

His mainstream popularity was fairly short-lived, chart positions diminishing as the 60s went on and largely eluding him after that, but he remained a favourite amongst soul fans. Over the years 'When A Man Loves A Woman' has entered the popular consciousness, enjoying increased attention at certain points over the years - thanks to being featured in a Levi's advert, several films, and when Michael Bolton, quite inexplicably, won a Grammy for his cover of it.

Sledge was honoured with numerous awards during his life, including being inducted into the Rock And Roll Hall Of Fame in 2005 and Louisiana Music Hall Of Fame in 2007. He continued to record and perform until close to the end of his life. He played his final show last year, after undergoing surgery for liver cancer.

He is survived by his second wife Rosa and twelve children.

  Approved: Service Bells
If feels like a while since we last had some hefty rock in the Approved column, so Australian quartet Service Bells are a welcome sight. The band released their debut EP, 'Service Bells', this week, showcasing a sound that is reminiscent of Queens Of The Stone Age with a touch of 80s goth thrown in.

Two years on from their debut single, 'Metropolis', their sound has really filled out and the slightly longer form format of the EP gives them space to show off the range of their talents, like moving from the tense build up of 'Flood The Plain' into the ambient piano-based instrumental 'Callback'.

You can download another track from the EP, 'Undertaker', via Music Glue, or check out the full EP on SoundCloud here.
CLICK HERE to read and share online
 
 

Union J's Josh Cuthbert fine after car crash
Union J's Josh Cuthbert and his girlfriend Chloe Lloyd are both fine after being involved in a car crash in London.

According to TMZ, Cuthbert crashed his Mercedes into the back of another car on Sunday. Both escaped with minor injuries, but the car was apparently a write off. Union J's tour dates with The Vamps are not affected.

Tweeting about the incident, Cuthbert wrote: "Guys, just wanna let you know I'm fine. Had a nasty crash but most important thing is that Chloe and I are OK! Car is in a bad way though".

Snoop Dogg's weed investment, Louis and Liam's songwriting japes, Chris Hadfield's space album, and more

Other notable announcements and developments today...

• Snoop Dogg has invested in a marijuana delivery service, because of course he has.

• Liam Payne and Louis Tomlinson off of the One Direction have been writing new songs with Jamie Scott, because of course they have.

• Spaceman Chris Hadfield, who wowed everyone with his cover of David Bowie's 'Space Oddity' from the International Space Station in 2013, is set to release a full album. Due for release later this year, parts of the record were recorded in space, which is apparently a "human first".

• Grizzly Bear are preparing to record a new album that is shaping up to be "more adventurous with the sonic directions", the band's Ed Droste tells The Standard.

• Archbishop Bashar Warda of Erbil - apparently known as the king of Iraqi pop - has recorded an anti-ISIS song with London electronic outfit Ooberfuse, titled 'We Are One'. Officially released this Saturday, you can listen to the track here.

• Former Battles frontman Tyondai Braxton has released a track from his upcoming new solo album 'HIVE1', which is due for release on 11 May. Listen to 'Gracka' here. He'll also be playing a show at XOYO in London on 16 Jun.

• Best Coast have released a new track, 'Feeling OK', from their upcoming third album, 'California Nights', which is due out on 4 May. They'll be in the UK to play the multi-city Dot To Dot festival in May, plus a show at the Electric Ballroom in Camden on 20 May. Listen to 'Feeling OK' here.

• Slaves will release a new single, 'Cheer Up London', on 1 Jun. They have a mostly sold out UK tour coming up in May, including two nights at The Scala in London on 6-7 May. Listen to the single here

• The Tallest Man On Earth will release a new album, titled 'Dark Bird Is Home', on 12 May. Listen to the title track here. You'll be able to catch him with full band on tour in the UK this October.

• Purity Ring have announced that they will play The Roundhouse in Camden on 29 Oct. Tickets are on sale now.

Morrissey says Glasto not animal friendly
Morrissey has had a little gripe at Michael Eavis. Possibly because we once referred to Eavis as King Of Glastonbury and now Morrissey thinks he's royalty. And we all know what Moz thinks about the royal family.

No, it's an animal rights thing. Because the one time Smiths man claims he was prevented from showing a video revealing "the evils of factory farming" during a performance at the Glastonbury Festival in 2011. In a recent post on the True To You site, Morrissey wrote: "I was told that Michael Eavis had stopped the screening of the film because it wasn't indicative of how his dairy farm operated".

He goes on: "Michael Eavis also went on to justify banning the film by saying it would 'upset' younger people. What Michael Eavis was saying, in effect, was, 'It's OK for our belly, but not for our eyes... and at all costs don't educate anyone on animal cruelty because it might damage the financial profits of our happy Glastonbury Farm'".

"If he had thought the film gave an incorrect view of dairy farming, he wouldn't have cared if the film had been shown, but he banned the film because he knew the film was truth. Like most animal haters, Michael appears to be one of those people who love dead animals, yet hate live ones".

Now in full-on Eavis bashing mode, the singer adds: "Michael Eavis was awarded a CBE by Elizabeth Battenberg - you have been ordered to address her as The Queen - in 2007".

See, told you royalty had something to do with it. Anyway, he continues on in this vein some more in the full post here, if you're interested.

 
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 | MD & Business Editor
Chris provides music business coverage and analysis. Chris also leads the CMU Insights training and consultancy business and education programme CMU:DIY, and heads up CMU publisher 3CM UnLimited.
Email chris@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 3CM UnLimited 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
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