TODAY'S TOP STORY: As Apple's Worldwide Developers Conference approaches, the Wall Street Journal has been digging hard to try to work out what the tech giant's all-new music service will look like. As much previously reported, the much anticipated souped-up iTunes is expected to be amongst the new products demoed at next week's WWDC, even though all sources say none of the major record companies... [READ MORE]
TODAY'S APPROVED: Def Jam's latest signing Alessia Cara's debut single is a different take on the traditional teen party pop song. Perhaps a little more realistic than the usual story, 'Here' places Cara in the corner wondering why she even bothered turning up. Built on a sample from Isaac Hayes' 'Ike's Rap II', which you'll recognise from Portishead's 'Glory Box' and Tricky's 'Hell Is Round The Corner'... [READ MORE]
TOP STORIES More speculation ahead of Apple's big music announcement
LEGAL Universal cites Seventh Amendment to avoid liability in 'Blurred Lines' case
BMG sues Modular and Universal over Tame Impala mechanicals
DIGITAL & D2F SERVICES SoundCloud deal with NMPA members leaks
YouTube Music Key launch delayed
MEDIA Commercial radio lobbyist calls for review of broadcast rules
INDUSTRY PEOPLE Fender appoints new CEO after one year search
ARTIST NEWS Hayley Williams can still be a feminist, despite what she said when she was seventeen
ONE LINERS The Stones and Clapton, Krept & Conan, BEAK> and <KEAB, and more
AND FINALLY... First ever World Motern Day celebrated across the globe
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More speculation ahead of Apple's big music announcement
As Apple's Worldwide Developers Conference approaches, the Wall Street Journal has been digging hard to try to work out what the tech giant's all-new music service will look like.

As much previously reported, the much anticipated souped-up iTunes is expected to be amongst the new products demoed at next week's WWDC, even though all sources say none of the major record companies have as yet inked their deals with the new platform. But some very last minute contract signing may as yet occur - it wouldn't be the first time - and either way, enough of the deal making has been done that Apple might feel confident enough to demo the new iTunes anyway. Postponement is still a possibility, insiders say, but it's the less likely outcome.

The Journal's sources confirm most of what we already knew about new-look iTunes: that it will combine the existing download store, a revamped freemium iTunes Radio service of the Pandora model that will finally be rolled out beyond the US, and a premium $10 a month on-demand streaming set-up of the Spotify model, with celebrity curation pushed to the fore.

The latter, of course, will be partly based on the Beats Music service Apple acquired, though it's thought the Beats platform will continue to operate as a standalone set up while the new iTunes-with-added-stream gains momentum. The just over 300,000 people thought to be signed up to Beats Music in the US will then be transferred over to iTunes down the line.

Some of the newer nuggets of information contained in the WSJ article include confirmation that iTunes Radio will also include channels that operate more like conventional radio with human curation and DJs chatting between the tracks. This is where Apple's big iTunes hire to date, Zane Lowe, could pop up, while those rumours that Pharrell Williams, Drake and David Guetta were being courted by the tech firm are being confirmed by various sources, with all three likely to curate and/or host channels on iTunes' freemium side (though not for the mega-bucks fees previously mooted, insiders say; indeed it could be one of those "think of the great exposure" arrangements).

But both Apple and the record labels really want people to sign up to premium, of course, the great hope being that iTunes - which its massive user base - can sign up the kind of mainstream consumer yet to opt for 'access' rather than 'ownership' when it comes to digital music. The tech giant is expected to stage a huge marketing push for its new subscription music platform, and may even urge people buying albums in its download store to instead sign up to premium and get a whole load more music for the cost of an album a month.

Apple is seemingly banking on its ability to turn more mainstream consumers into subscription-paying streamers not just to regain its dominance in digital music, which has started to flag as download sales decline, but also to get the best possible deals from the record labels in terms of royalty rates. Word has it labels will be able to make album streams available on a freemium basis, but Apple is spinning this as a SoundCloud-style option, ie great promotion, but royalty free.

Though whether the new look iTunes will be the service to take subscription streaming mainstream remains to be seen. There are lots of reasons why it could succeed, but also several reasons why the labels should be nervous. The Journal says that the average iTunes user currently spends about $30 a year on music. Persuading that person to move to $120 a year is ambitious.

Even if Apple had persuaded the labels to opt for the slightly cheaper price point of $7.99 a month, $96 a year is still quite a hike for those mainstream users. Indeed, Apple originally proposed a $5 price point, the rumour goes, which would have been more realistic, though clearly iTunes entering the streaming market with the same service as Spotify at half the price would have screwed over the very company that is currently behind the record industry's main growth revenue stream.

So the labels insisting on a $10 a month price point is understandable, though fans of pessimism will enjoy worrying that iTunes premium will mainly sign up two kinds of consumer: existing $10 a month subscribers that will be poached from Spotify et al, lured by Apple's exclusives and hype, and existing big download purchasers on iTunes who are already spending $120+ a year on digital music. Which might be good news for Apple, but it doesn't really help the music industry.

But hey, look at me, all doom and gloom before the all-new iTunes is even out the door. Pharrell! Zane! Radio! Streams! Beats! Woo!

Universal cites Seventh Amendment to avoid liability in 'Blurred Lines' case
Ah, yes, the Seventh Amendment. Remind me. Guns? No, that's number two. The right to spoof the religious? No, that's the first. Slavery, abolition thereof? Thirteen. Number seven, my friends, is the right to trial by jury in civil cases, and don't you ever forget it. It's why copyright cases in America end up in front of juries who always award crazy damages. And that's something worth protecting. Simples.

Though today Universal Music is citing the seventh in a bid to avoid crazy damages as it fights off being held, in any way whatsoever, liable for Robin Thicke and Pharrell Williams ripping off Marvin Gaye's 'Got To Give It Up' on their hit 'Blurred Lines'. A jury, of course, deemed earlier this year that Thicke and Williams did indeed rip off Gaye's work, and ordered the terrible twosome to pay over $7 million in damages to the Gaye family.

Both singers want the whole matter to be considered anew in court, and Universal backs Thicke 'N' Pharrell in questioning the jury's judgement. Though the mega-major is also concerned by a post-trial claim by Team Gaye that liability for the cheeky tune theft should be extended to Universal, which released 'Lines', and TI, who showed up at the very last minute and rapped on it. And on this point Universal is quite happy with the jury's judgement.

The music firm argues, in a new court submission, that during the 'Blurred Lines' trial itself the jury specifically decided that Universal's Interscope label and TI - real name Clifford Harris - were not liable for any plagiarism that may have occurred when the hit was written. And, Mr Judge, you can't go messing with something the jury said, because, oh, seventh amendment, seventh amendment.

Or in the words of Universal's lawyers, according to The Hollywood Reporter: "The court may not enter an order declaring that Clifford Harris Jr and the Interscope parties 'are directly liable to the Gaye family for copyright infringement' because the jury found, as to this very issue, that Harris and the Interscope parties are not liable to the Gaye parties for copyright infringement. Once a jury has decided an issue, a court may not 'declare' the opposite on that same issue without violating the prevailing parties' Seventh Amendment right to a jury trial".

So take that Team Gaye. Though the Gayes' lawyers are claiming that because Interscope and TI clearly benefited from the commercial success of 'Lines', and because the jury clearly ruled that that song infringed 'Got To Give It Up', ignoring the label and rappers' liability would ignore the logical conclusion of the jury's primary judgement, and that would violate their clients' Seventh Amendment rights.

So not so simple after all. The case, in its various guises, continues.


BMG sues Modular and Universal over Tame Impala mechanicals
BMG has begun legal action against Modular Recordings and Universal Music Australia over allegedly unpaid mechanical royalties on the catalogue of Tame Impala.

BMG represents the song rights of Tame Impala main man Kevin Parker, and claims that the two record companies have failed to pay the publishing royalties that are due from the Tame Impala records they have sold since early 2014.

It seems that Modular did have the right 'mechanical licence' for its Tame Impala releases, but that it has failed to pass on the publisher's cut of record sales income in accordance with the payment terms in said licence. BMG says $450,000 is owing.

But Universal, which owns half of Modular, has distanced itself from the dispute, saying it is not liable for the unpaid mechanicals. This is based on the claim that it was another company wholly owned by Modular founder Steve Pavlovic which secured the mechanical licence for the Tame Impala recordings, and it is therefore that company that is liable for any unpaid royalties. The major adds that Pavlovic has confirmed this, and that they would have informed BMG of this fact had they been contacted before the legal papers were filed.

So that's all fun. The litigation over unpaid publishing royalties follows remarks made by Parker in a recent AMA conversation on Reddit, in which the musician claimed to have received no income from Tame Impala's record sales outside Australia, adding that it was two massive sync deals (possibly negotiated on the publishing side by BMG) that enabled him to buy a house and set up a studio.

Of course, the lack of income from the label side may be down to non-recoupment rather than dodgy dealings in the record company, but still, it doesn't sound like there's much love lost between Parker and Modular.

SoundCloud deal with NMPA members leaks
It should be noted that I really didn't want to start this article, "You wait ages to see a secret streaming music contract and then two leak at once", but if people are going to be so terrible at keeping secret streaming music contracts to themselves, what am I supposed to do? Last month it was an old Spotify deal, and now a seemingly yet-to-be-signed agreement between SoundCloud and America's indie music publishers has hit the internet.

Earlier this week, Digital Music News published an umbrella deal reportedly negotiated by the US National Music Publishers Association in relation to SoundCloud's previously reported plans to launch a subscription-based streaming service, in addition to its also in-development advertising platform.

The deal would allow NMPA members to license such a service on terms negotiated by the trade body, the top level figure of which is the publishers receiving 10.5% of revenues attributed to their repertoire, or 21-22% of what the label receives for the same content, whichever is higher. The deal seems to cover mechanicals rather than performing rights (which would likely be licensed via the societies), though separate deals on the latter might have an impact on the former. Basically it's a typically complicated arrangement.

We do know that, if signed, NMPA members would collectively receive an advance of $350,000, plus there are minimum guarantees on monthly payments as well. And a most favoured nation clause would mean indies would see their deal improve if the majors negotiated better terms.

As for what SoundCloud actually has planned, a "full catalogue subscription service" is mentioned at various points, while there is talk of a "mid-level tier" that would remove ads and allow users to download tracks for offline listening.

With the exception of Warner and a handful of indies, the labels in the main are not yet convinced by SoundCloud's plans to transform itself into a revenue-generating platform for music rights owners, in that the labels want the transformation to happen, but not on the terms currently proposed by the digital firm.

Read the full NMPA contract here.


YouTube Music Key launch delayed
The official launch of YouTube's long-in-beta Music Key streaming service has been delayed until September. But don't go around telling people that the whole project is a disaster that's going to be quietly shut down before ever going properly live, because that wouldn't be true. Not true I tell you. Not true at all.

"We're still going through some development", said YouTube's Head Of Content And Business Operations Robert Kyncl in a video conference earlier this week, according to The Guardian. "The launch is coming in a few months from here: there's a little bit of a delay, but nothing too serious".

Launched in beta last year, the paid-for music streaming platform has seen "tremendous engagement", the Google-owned company said in April when announcing plans to expand an ad-removing subscription option to the rest of the video site. However, the firm recently said that Music Key's beta period was being extended to at least 15 Sep - and Kyncl was even more cautious this week, saying: "I can't promise the date. It's already going a little too far even saying 'a few months'".

"We have been collecting a lot of feedback and working with [YouTube Music Key]", Kyncl explained. "We got a lot of really great feedback [from early users], and thought it was better to address most of it than to launch without [addressing] it ... We're a lot smarter about the product from the heaviest users".

He also seemed to say that the YouTube-wide subscription offer would replace the individual channel subscription system that was made available to some channels on the site in 2013, but which hasn't been especially successful.

"We have not been scaling [the channel subscription option]", he admitted. "It's there, it's available for people to take advantage of, but we have not been actively scaling it. We are focusing on the one subscription that we have discussed earlier and making sure that we roll that out ... We just can't do many different subscriptions, and do them well, and grow them large. So we're focusing on one big effort today".

Commercial radio lobbyist calls for review of broadcast rules
The boss of commercial radio group RadioCentre, Siobhan Kenny, has called on the government to initiative a wide-ranging review of the rules and regulations governing radio, by which she really means a review that would result in less rules and regulations governing radio.

Radio, of course, has a challenging decade ahead as the internet properly arrives in the kitchen, bathroom and the car, where a lot of radio listening occurs, putting traditional radio services in head-to-head competition with the streaming music platforms, which are all busy evolving their services to incorporate more radio-style features. And while radio's overall listening figures are holding up well, listening hours are generally down, and younger consumers are more likely to get their music from YouTube than FM.

Kenny insisted that her industry is "shaping up well in the face of new competition and challenges", but said that strict rules governing advertising and content could hinder the broadcaster's ability to take on their new less regulated competitors.

She told the Voice Of The Listener And Viewer Spring Conference this week: "With a new government in place and new leadership at OfCom, now is a perfect time to look again at the statutory framework in which commercial radio operates. There are challenges ahead without a doubt which radio is in good shape to meet, building on its traditional strengths of local links, audience connection, great music and entertainment. But current regulation is a barrier to success in some ways".

Honing in on one very specific example, she continued: "So-called consumer protection is responsible for the garbled warnings you hear on financial product advertising. Research shows, as any advertising person knows, that too much information is tantamount to no information at all. We would love to work with the Financial Conduct Authority and European regulators to come up with more effective ways of delivering the 'always read the small print' message".

So get to it FCA and OfCom, and get your reviewing hats on. Though radio stations are reminded rules and regulations can go up as well as down, terms and conditions apply.

Fender appoints new CEO after one year search
The Fender company has announced the appointment of a new CEO in the form of Andy P Mooney, who joins the musical instrument firm from surf wear company Quiksilver. Let's hope he's good, because it took a year for the guitar peddler to find him, his predecessor Larry E Thomas having retired in May 2014. But I'm sure Bono and The Edge have been stepping in to help in the meantime.

Mooney also previously worked for Disney and Nike, so I'm expecting a shoe-like guitar with mouse ears that doubles up as surfboard by Christmas. Confirming his new role, he said yesterday: "As a longtime fan and user of Fender products, it's a dream come true to be asked to lead a brand and company that I personally have so much admiration for".

His new boss, Fender co-Chair Mark Fukunaga, added: "Andy has proven success in connecting consumers to brands. His personal passion for Fender guitars and the company's long and storied history makes him a great fit for our culture. We are tremendously excited to have an executive of Andy's calibre at the helm of Fender and we look forward to great success in the future under his leadership".

  Approved: Alessia Cara
Def Jam's latest signing Alessia Cara's debut single is a different take on the traditional teen party pop song. Perhaps a little more realistic than the usual story, 'Here' places Cara in the corner wondering why she even bothered turning up.

Built on a sample from Isaac Hayes' 'Ike's Rap II', which you'll recognise from Portishead's 'Glory Box' and Tricky's 'Hell Is Round The Corner', the sound of the track matches the maturity of her lyrics.

She may not be playing into the narrative expected of a teen popstar, but if she can keep putting out tracks like this one then popularity will happily come to meet her anyway. Watch the video for 'Here' here.
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Hayley Williams can still be a feminist, despite what she said when she was seventeen
Paramore vocalist Hayley Williams has said that the lyrics to the band's song 'Misery Business', from their 2007 album 'Riot!', are "not a set of lyrics that I relate to as a 26 year old woman" but their existence does not mean she can't be a feminist.

The lyrics in question, which apparently some people have decided to suddenly take offence at in 2015, go like this: "I never meant to brag/But I got him where I want him now/To steal it all away from you now/But God does it feel so good".

Writing on her Tumblr blog, Williams said: "I read a couple comments today about how I can't be feminist, or whether or not I'm a 'good' feminist. To speak specifically to one of those comments, I'll say this: 'Misery Business' is not a set of lyrics that I relate to as a 26 year old woman. I haven't related to it in a very long time. Those words were written when I was seventeen - admittedly, from a very narrow-minded perspective. It wasn't really meant to be this big philosophical statement about anything. It was quite literally a page in my diary about a singular moment I experienced as a high schooler".

Yeah, I'd like to state right now that I don't think we should hold people to things they believed when they were seventeen. I was a fucking idiot when I was seventeen. Seriously, even worse than now.

"I'm a 26 years old person", concluded Williams. "And yes, a proud feminist. Just maybe not a perfect one".

The Stones and Clapton, Krept & Conan, BEAK> and <KEAB, and more

Other notable announcements and developments today...

• The Rolling Stones have put a previously unreleased version of 'Brown Sugar', featuring Eric Clapton on slide guitar, on YouTube. The track, an outtake from the original recording sessions, will feature on a re-issue of their 'Sticky Fingers' album, out 8 Jun.

• BEAK> have announced that they will release a split EP with a mysterious outfit called <KEAB in July.

• Continuing to be brilliant, Holly Herndon has released the video for 'Morning Sun' from her latest album 'Platform'. Watch her explore Mars here.

• A collaboration between PC Music affiliate Sophie and the Mad Decent-signed Liz is soundtracking a new Samsung advert. So that's a thing that's happened now.

• Yo La Tengo have announced that they will release a new album called 'Stuff Like That There' through Matador on 28 Aug. From it, this is 'Automatic Doom'. They'll also play a handful of shows in the UK and Ireland in October.

• Krept & Conan have announced some UK tour dates in November, including a show at the Shempire on 26 Nov.

• Gabrielle Aplin will play Wilton's Music Hall in London on 9 Jul.

• Outfit have announced tour dates for September, winding up at Electrowerkz in London on 21 Sep.

• Barenaked Ladies will be touring the UK in the autumn, with their final date at London's IndigO2 on 9 Oct.

• Young Thug has announced that he will play his first ever London show at the Islington Academy on 27 Aug. Tickets on sale at 9am on Friday.

First ever World Motern Day celebrated across the globe
Matt Farley has written, recorded and released over 17,000 songs on Spotify and iTunes through his Motern Media label under various names since 2008. And yet, despite being named one of CMU's artists of the year last year, he remains on the fringes of the music industry, just about scraping minimum wage from his work.

This is why Farley has declared 3 Jun World Motern Day, which he says is "a foolproof plan to make $1 million". All he needs is a few hundred thousand people to listen to his entire eight hour Official Motern Media Playlist on Spotify to achieve this goal.

"On the most practical level, the aim is to earn me some money", Farley tells CMU. "I've managed to record 17,000 song while still working my 'day job' 40 hours a week. It's exhausting! I'd love to be able to just make music full time".

"But it's also an attempt to get people to sit down and experience the best of my music", he adds. "I'm incredibly pleased with all 300 songs on the playlist. I think anyone who listens will be pleasantly surprised by my output. Turning it into an event is a way to get people to give the music a chance".

Of course, you may be wondering why you should join in with World Motern Day. Farley's answer is simple: "Because listening to all 300 songs is like a badge of honour. You can brag to your friend, 'I listened to all 300 hundred songs on World Motern Day!' The music is seriously great! The songs are funny, strange, interesting, surprising. Plus, it's a chance to celebrate a truly independent artist. All of these songs are literally homemade".

As for how to approach the playlist, that's also easy: "I recommend that people listen to it in order. I've put some thought into the sequence. It starts with 'My Goldfish Dead', a groovy tune about a dead goldfish by my original band, Moes Haven. It's a great introduction to my style and subject matter. Then the playlist flows smoothly into subsequent songs. But, also, they're all great. So playing them on shuffle can be fun too!"

Farley does of course recognise that there is the possibility that he won't achieve the ultimate goal of making $1 million from Spotify in one day. There is a lower target for the day too, he explains: "If the first song on the playlist doesn't get 2500 plays on World Motern Day, I will punish the world by taking a month off from Twitter, Facebook, my podcast, and even the phone calls I get from people who hear me singing my phone number in my songs! After the month off, I'll double my efforts, creating more great songs that I can add to the playlist".

"If I reach at least 2500 plays for the first song, then I'll just keep doing what I'm doing", he adds. This may seem like a win-win whether you listen or not, but Farley has previously said that if he's not making a living from his music by 2018, he will retire. And that is a win-win for no one. So readers, please clear your listening schedule for the rest of the day and press play on track one of this 300 track extravaganza.

Also check out this excellent and entirely factually correct song too.

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.
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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.
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SAM TAYLOR | Commercial Manager & Insights Associate
Sam oversees the commercial side of the CMU media, leading on sales and sponsorship, plus helps manage and deliver the CMU Insights training courses and consultancy services.
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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.
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