FRIDAY 24 JULY 2015
TODAY'S TOP STORY: One time Turtles, Flo & Eddie, have failed in their bid to get the $210 million that Sirius XM has pledged to pay the US major record companies paid into a third party bank account while their own legal action against the satellite broadcaster goes through the motions. Which is a shame. I was going to offer my bank account for the job. This, ladies and gentlemen... [READ MORE]
 
TODAY'S APPROVED: Spinna aims to bring you 'Songs In The Key Of Life' in the form of a whole night of quality tracks from the highly proliferative oeuvre of Stevie Wonder. Launched in 1999 as an annual party in Spinna's home city of New York, this Wonder-full night has since toured around the States and the world and finally lands in London for its inaugural outing at the Scala tonight... [READ MORE]
 
BEEF OF THE WEEK: Taylor Swift might have thought she was going to make it out of this week ahead on brownie points. After much criticism in recent weeks for the contract she had been asking photographers to sign before being granted access to her live shows, she created a new agreement that is less restrictive. In fact, she went so far as to draw up the contract with the help of... [READ MORE]
 
CMU PODCAST: CMU's Andy Malt and Chris Cooke review the week in music and the music business, including the FTC's investigation into Apple's 'tax' on in-app purchases, the race to improve songwriting royalty reporting, Spotify's new Discover Weekly playlists, and the pains of trying to get your One Direction remix competition entry heard on SoundCloud. The CMU Podcast is sponsored by 7digital... [LISTEN HERE]
TOP STORIES Flo & Eddie fail to stop Sirius handing over $210 million to the majors
JUMP | ONLINE
LEGAL SESAC settles anti-trust dispute with US radio industry
JUMP | ONLINE
LIVE BUSINESS Grateful Dead finale a big pay-per-view event too
JUMP | ONLINE
DIGITAL & D2F SERVICES BuzzFeed coming to Snapchat, but Warner dropping off
SFX appoints former Thump editor to lead Beatport media ambitions
JUMP | ONLINE
MEDIA Japanese media firm buys the Financial Times
City of Austin reports as NME awards sponsor
JUMP | ONLINE
ARTIST NEWS Meek Mill apologises to Drake over ghostwriting accusations
JUMP | ONLINE
ONE LINERS SoundCloud subscription update, DJ Derek missing, new Lianne La Havas, and more
JUMP | ONLINE
AND FINALLY... CMU Beef Of The Week #263: Nicki Minaj v Taylor Swift
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.
 
 
REDEYE - INTERNATIONAL PRESS AND PROMOTIONS MANAGER (LONDON)
Redeye is extending its international team by hiring two positions in the UK. The International Press and Promotions Manager will coordinate and execute Redeye press and promotions campaigns in assigned territories as well as coordinate press campaigns via Redeye Territory Reps who will execute press and promotions in their assigned territories.

For more information including a full job description and how to apply click here.
   
REDEYE - INTERNATIONAL DIGITAL ACCOUNT AND MARKETING REP (LONDON)
Redeye is hiring a digital marketing position in London, UK to extend its international team. The primary responsibility of the International Sales Representative is to be the main point of contact and expert for all Redeye Digital sales for new releases and catalog in assigned territories.

For more information including a full job description and how to apply click here.
   
BLUES KITCHEN - PROMOTIONS & MARKETING ROLE (LONDON)
The Columbo Group is seeking a talented and enthusiastic individual to join the Blues Kitchen marketing and promotions team.

For more information including a full job description and how to apply click here.
   
WARWICK SU - PROGRAMMING AND PROMOTIONS MANAGER (COVENTRY)
We are looking for an exceptional Programming and Promotions Manager to deliver a diverse and cost effective social provision programme across Warwick SU operation’s and outlets, including both regular and one off events that exceed the expectations of the student population and other customers.

For more information including a full job description and how to apply click here.
   
IQ - ADVERTISING SALES EXECUTIVE (LONDON)
IQ, a leading trade publication operating in the international live music industry, is seeking a dynamic, bright advertising sales executive to become an integral part of its growing team. The ideal candidate will have solid sales experience across both digital and print media.

For more information including a full job description and how to apply click here.
   
UNIVERSITY OF EAST ANGLIA - VENUE MANAGER (NORWICH)
Are you looking for a change in your career? A unique opportunity to run a major venue on the live circuit. You will lead and develop enthusiasm in your management team and inspire them to make highly commercial decisions whilst also delivering an unforgettable experience to each and every customer.

For more information including a full job description and how to apply click here.
   
RSK ENTERTAINMENT - LABEL MANAGER (NEWBURY)
RSK Entertainment is looking for a self-starting and dynamic label manager to manage a diverse roster of UK and international record labels. Based at our office outside Newbury the role would best suit someone already established in the music industry and ideally with either current or previous label management experience.

For more information including a full job description and how to apply click here.
   
BSI MERCH - SENIOR SALES EXECUTIVE (LONDON)
BSI Merch is looking for a skilled sales/business development person to lead our sales department in our London office. You will be an experienced and well-organised sales professional with wide ranging contacts and an excellent track record in the music industry.

For more information including a full job description and how to apply click here.
   
SENTRIC MUSIC - SYNC ASSISTANT (LIVERPOOL)
Sentric Music is looking to expand their award winning synchronisation department by adding an enthusiastic and passionate individual to their team. Applicants must have a sound knowledge of the sync industry and how to appropriately pitch catalogue to music supervisors, broadcasters, agencies and agents worldwide.

For more information including a full job description and how to apply click here.
   
7DIGITAL - MUSIC PARTNERSHIPS MANAGER - PUBLISHING (LONDON)
As Music Partnerships Manager for Publishing you will play a key role in negotiating music publishing licenses needed for 7digital to expand its services. You should be comfortable with negotiating complex content-licensing agreements with publisher partners as well as working across multiple teams to structure new business models around music publishing licenses providing 7digital and its B2B clients with the best possible user experience and support.

For more information including a full job description and how to apply click here.
   
13 ARTISTS - ADMINISTRATIVE ASSISTANT (BRIGHTON)
13 Artists are looking for a full time Administrative Assistant to join the team. The ideal candidate would have already worked for at least five years in an administrative / secretarial / PA type role and is highly organised with the natural ability to prioritise and multi-task. A great knowledge of MS Office, particularly Excel, is vital as is being extremely organised with meticulous attention to detail and confident and capable with data. An experience working with live music would be appreciated.

For more information including a full job description and how to apply click here.
   
BIRD ON THE WIRE - MARKETING AND TICKETING ASSISTANT (LONDON)
London-based independent live music promoter Bird On The Wire is offering the opportunity to join their team as their part-time Marketing and Ticketing Assistant. The right person for this position will be passionate about music and be used to attending concerts several nights a week.

For more information including a full job description and how to apply click here.
   
EMOTICAST - SOCIAL WIZARD WANTED FOR MUSIC + MESSAGING + COOL SHIT (LONDON)
Why do job ads try so hard to be boring? If you also genuinely wonder too, we might be on the same page and you might want to work with us. We’re looking for a multidisciplinary Marketer/Social Media manager to lead our efforts. Messaging apps are incredibly popular right now. We want to add music to the mix and we’re uniquely positioned to do so.

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
 

Flo & Eddie fail to stop Sirius handing over $210 million to the majors
One time Turtles, Flo & Eddie, have failed in their bid to get the $210 million that Sirius XM has pledged to pay the US major record companies paid into a third party bank account while their own legal action against the satellite broadcaster goes through the motions. Which is a shame. I was going to offer my bank account for the job.

This, ladies and gentlemen, is all to do with the 'pre-1972 copyright thing'. You know, the one we explain in great detail in this free-to-access CMU trends report. Basically, on account of copyright law silliness in the US, Sirius reckoned that it didn't have to pay sound recording owners any royalties when it played music that pre-dated 1972. But the record industry did not agree.

Flo & Eddie, on account of their former life in 1960s group Turtles, led on the litigation front to force Sirius to pay. Lawsuits from the Recording Industry Association Of America and the US record industry rights group that licences Sirius, SoundExchange, both followed. But when Flo & Eddie got a landmark judgement in their favour in the Californian courts last year, the RIAA began out-of-court negotiations with the broadcaster, reached a $210 million settlement last month.

But Flo & Eddie - whose case became a class action after their initial win - are still battling away, not least to secure damages from Sirius. And with their case now a class action, any other artists or indies whose pre-1972 tracks have been played by Sirius could get the right to claim back royalties under any damages arrangement.

Lawyers for Flo & Eddie, from the company Gradstein & Marzano, called the RIAA's litigation a "coattail action" and the subsequent settlement a "brazen attempt to disrupt and interfere with the class action process". No money should change hands until Flo & Eddie's case was fully resolved, they argued.

But the RIAA's legal reps countered that its deal with Sirius only covered recordings owned by the three majors and ABKCO, and that the rights of any other recording owners - who would be in Flo & Eddie's 'class' - were not affected by the deal. It was also implied that G&M was only acting in this way because the firm was annoyed for being frozen out of the RIAA's settlement negotiations.

And yesterday a US judge in LA basically sided with the record industry trade group, saying that Universal, Sony, Warner and ABKCO settling with Sirius did not impact on Flo & Eddie's class. And also, given that G&M had tried to get a seat at the negotiating table after hearing about the RIAA/Sirius talks, and had since started their own direct negotiations after Sirius insisted on keeping the two settlements separate, the time to complain about all this had long gone.

Said the judge, according to Reuters: "G&M's delay in challenging Sirius XM's communications with the record companies and even the settlement itself suggests to the court that G&M did not care to enjoin the settlement payment or seek to recover a portion of it until G&M learned the size of the settlement. If class counsel took issue with Sirius XM communicating with the record companies post-certification, it should have moved to restrict such communication after the court certified the class".

So there you go. Of course, had Sirius been paying for pre-1972 catalogue all along via SoundExchange, 50% of the money would have gone straight to the artists. It's not clear if the same will apply to the $210 million though. But I'm happy to look after half of it in my bank account while that's all worked out, if you like.

SESAC settles anti-trust dispute with US radio industry
As the regulation of the US music publishing sector's main two performing rights organisations - BMI and ASCAP - continues to be reviewed by the country's Department Of Justice, the smaller commercially-owned PRO - SESAC - has reached a settlement with the Radio Music Licensing Committee which includes agreeing to allow a third-party arbitration panel to settle future royalty disputes.

Under their so called consent decrees, BMI and ASCAP's licensing deals with broadcasters, concert promoters, club and bar owners, and so on, are all subject to the intervention of the rate courts, which have the power to set royalty rates when the societies and licensees cannot agree.

The consent decrees are designed to overcome the competition law concerns of collective licensing, ie when large numbers of rights owners license as one. Collective licensing is similarly regulated elsewhere in the world, though the consent decrees in America have been particularly criticised as being inflexible in the rapidly evolving digital music industry.

But SESAC, as a much smaller PRO in the US, has never been subject to a consent decree, though has nevertheless been accused by some licensees of anti-competitive practices. Even though if radio stations had to negotiate directly with the music publishers, the majors would have a much bigger market share than SESAC, so could make similar if not bigger deal demands without any of the anti-trust controversy that surrounds PRO licensing.

But nevertheless, SESAC is always nervous when faced with anti-trust litigation, given the precedent any ruling against it could set, which provides an incentive to settle. And last year it did indeed settle with the Television Music Licensing Committee, while a deal was finalised with the Radio Music Licensing Committee this week.

Both see SESAC agree to third party arbitration on royalties, though the rights body stresses any arbitrator will be very much focused on what is a fair commercial value for the song catalogue SESAC represents; the BMI and ASCAP rate courts having been often accused of ignoring market rates when ruling on what licensees should pay.

Under the deal with the RMLC, SESAC will cover the radio industry group's legal costs in the dispute to date, though it says that that bill, $3.6 million, is less than what it would have cost to fight the litigation in court. No damages will be paid, so the settlement is more about the two parties agreeing a framework for future licensing negotiations. The RMLC, meanwhile, will kill its lawsuit.

RMLC's Vice Chairman John VerStandig hailed the settlement as a victory, telling the New York Times: "This settlement effectively bars SESAC from arbitrarily seeking unreasonably high rates from a radio operator at the risk of copyright infringement exposure".

But SESAC spun the deal as a win too, noting that it "secured commercial arbitration for the next 22 years as the basis for setting SESAC's license fees for commercial radio stations represented by the RMLC". CEO John Josephson added: "This guarantees a level playing field in establishing the fair market value of our creators' musical works for the broadcast radio industry".

SESAC, of course, is busy getting involved in the mechanical as well as performing rights of the US music publishing and songwriter community by acquired the Harry Fox Agency. Which will likely make it even more prone to allegations of anti-competitive behaviour, especially if the US publishing sector manages to persuade Congress to reform the various compulsory licenses that cover mechanicals Stateside.

Grateful Dead finale a big pay-per-view event too
Those big finale-come-reunion shows from Grateful Dead in the US earlier this month were not only a rather big success story in terms of ticket sales, but the pay-per-view live streams available via YouTube and a bunch of cable TV companies also constituted "the largest syndication of a live music event in history".

Well, that's according to the company behind the pay-per-view web and broadcast of the 'Fare Thee Well' concerts, but there were over 400,000 streams, which is impressive for a pay-per-view concert via either web or cable networks. Billboard notes that only the Backstreet Boys previously reached a six figure audience with a similar pay-per-view concert broadcast in 1999 (they got 160,000 paying viewers, and the Grateful Dead figure could still rise because the content is available via a watch-again option).

Given the concerts were available via cable TV services, the assumption is that the audience tuning in to the live recording was actually way higher, given it's thought plenty of bars and such like were screening the shows.

BuzzFeed coming to Snapchat, but Warner dropping off
Hey Snapchatters, BuzzFeed is coming to your snapping and chatting app of choice, as one of three (maybe two) new media providers being added to the Snapchat Discover channel that was launched back in January, according to Re/code.

Snapchat Discover offers a small family of media and content providers with the opportunity to push nuggets of their output into the faces of the kids as they snapchat with friends, and is part of the messaging app's attempt to build an advertising business, having an actual revenue stream being a useful way for the start-up to justify its nutty valuation.

American newsy website Vox is also set to get a blob in the Snapchat Discover channel, though it seems that the new arrivals will be replacing some of the incumbent Snapchat content partners, with Warner Music, the main musical participant in the experiment (other than MTV, is that still music?), one of those seemingly dropping off.

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SFX appoints former Thump editor to lead Beatport media ambitions
With SFX busy turning Beatport from a mere download store into a bleepy streaming platform and now into an all singing but mainly dancing media brand of ultimate goodness, the firm has headhunted the former Editor In Chief of Vice Media's electronic cultcha channel Thump, Zel McCarthy, to be its very own VP Of Beatport Media.

He'll be responsible for "the growth of all Beatport media properties across the globe" reports Billboard, and while he wasn't at liberty to tell the US industry mag much about what exactly that means, he did note that "the Beatport brand is synonymous with electronic music because Beatport's origins were the disruptor within the DJ community".

He added that Beatport had "evolved so much in the last dozen years and obviously the explosion, post-EDM rebrand, five years ago has changed things". And also "young millennials, which advertisers are so excited about for whatever reason, they are electronic music fans". 'Disruptor', 'post-EDM rebrand' and 'millennials', I think that's "bingo!" Well done me.

McCarthy also confirmed that the Beatport brand is a priority for the wider SFX business, and given his editorial background, his mere appointment suggests that the EDM festival promoter's main online platform is going to be ever more editorial-led. Oh, and he is promising to "keep the bullshit out of it and cut straight to the things that people are really passionate about". Which, in this post-EDM rebrand world, is what the millennials expect from a disruptor.

Japanese media firm buys the Financial Times
Following rumours earlier this week that the latest rumours that media firm Pearson was selling the Financial Times weren't just like all the previous rumours that media firm Pearson was selling the Financial Times and in fact this time media firm Pearson was selling the Financial Times, yesterday media firm Pearson announced it was selling the Financial Times. Leading to all sorts of rumours as to who might be buying it.

Newswires Reuters and Bloomberg had long been tipped as possible buyers for the UK-based business newspaper, the logic being they'd be attracted by the prestige that comes with owning the FT. And after Pearson confirmed it was close to selling the broadsheet yesterday morning, Reuters quickly reported that Reuters was again a rumoured bidder, though that Reuters had refused to comment on the speculation. This despite most people in the know being certain German media company Axel Springer was the main bidder.

Except by the end of the day Pearson had announced that, actually, Japanese business media group Nikkei was the lucky new owner of the most Financial Times via an £844 million deal. For its part, Pearson, which has owned the FT since 1957, confirmed that it wanted to focus on its core education business, while Nikkei CEO Tsuneo Kita said that the British business newspaper would be at home in his company's portfolio of media because: "Our motto of providing high-quality reporting on economic and other news, while maintaining fairness and impartiality, is very close to that of the FT".

Pearson boss John Fallon implied there had been a bidding war for the newspaper, while adding that he was confident the FT's new owners would respect its reputation for editorial independence unhindered by its corporate bosses. Certainly the paper's current editorial regime is expected to stay in place after the acquisition.

The deal with Nikkei did not include the FT's 50% stake in The Economist Group, publisher of The Economist, obviously. It is thought negotiations may be underway for a separate sale of that asset.

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City of Austin reports as NME awards sponsor
NME publisher Time Inc has confirmed that the city of Austin in Texas - probably best known in music circles as home to South By Southwest, of course - will again sponsor its annual awards bash next year. The "unique alliance" is, of course, "built on the shared belief in the power of live music", as I'm sure you all remember.

Confirming the sponsorship deal, Time Inc UK's Group Advertising Director Romano Sidoli employed these words: "I am thrilled to welcome back Austin, Texas for next year's awards. Having a commercial partner return for a third year as headline sponsor is indicative of the value of the relationship and NME's ability to leverage its platforms to offer authentic delivery of its partners' messaging. This partnership demonstrates the brand's international influence and the support we have from commercial partners for the brand transformation, which brings new potential for our clients".

Meanwhile the boss of Austin (well, of the city's Convention And Visitors Bureau), Bob Lander, added: "Following the huge success of both the 2014 and 2015 awards partnership and positive feedback, we are delighted to be able to continue to build on the momentum and awareness achieved and bring even more exposure to our Live Music Capital Of The World(r)". Do note the registered trademark symbol there. Yep, it's that official.

Both Time Inc and its sponsor will presumably be hoping for an even higher profile awards show next year, with the NME due to go free and massively ramp up its circulation to 300,000 copies a week as of September.

  Vigsy's Club Tip: DJ Spinna's Wonder-full LDN
Spinna aims to bring you 'Songs In The Key Of Life' in the form of a whole night of quality tracks from the highly proliferative oeuvre of Stevie Wonder. Launched in 1999 as an annual party in Spinna's home city of New York, this Wonder-full night has since toured around the States and the world and finally lands in London for its inaugural outing at the Scala tonight.

As you might expect, it'll be a trip through the extensive catalogue of Stevie Wonder. That will take over Room One, while in Room Two you'll find Pete BBE, Spin Doctor, Mr Thing, and Kyri R2. And here's a mix from DJ Spinna to get you in the mood.

Friday 24 July, Scala, Pentonville Road, London, N1, 10pm - 4am, £10-15. More info here.
CLICK HERE to read and share online
 

Meek Mill apologises to Drake over ghostwriting accusations
Rapper Meek Mill has apologised for accusing Drake of using ghostwriters to write his lyrics. Earlier this week, Mill tweeted that Drake "don't write his own raps", claiming that the rapper hadn't tweeted about Mill's new album, on which he features, because "we found out".

"He ain't even write that verse on my album", Mill added. "If I woulda knew I woulda took it off my album... I don't trick my fans!"

Drake's response came via a screengrab of a private conversation on Instagram, posted by Hitman Holla, in which Drake wrote (possibly himself, this has not been confirmed), "I signed up for greatness. This comes with it". So, that clears all that up.

But it's alright, because Meek Mill has apologised. He said he lashed out because he was "upset as a fan" when he learned that Drake might have had help with his writing. But it's all fine now. All water under the bridge. You can all calm down.

SoundCloud subscription update, DJ Derek missing, new Lianne La Havas, and more

Other notable announcements and developments today...

• SoundCloud CTO Eric Wahlforss has said, well, not a lot really, in this Wall Street Journal piece about the firm's much mooted planned subscription service, which will back up its move into ad-funded content as a way to make money for the music industry and itself. But it's still happening and will be launching soon. Woo!

• Bristol reggae spinner DJ Derek, real name Derek Morris, has been missing for three weeks, his family say. Police are calling on the public to report any sightings in that time.

• Lianne La Havas has released a new track, called 'Green & Gold'.

• Health have released a new track, called 'Men Today'.

• LCMDF have released a new track, called 'Procrastination 365'.

• Jenny Hval has announced UK tour dates for November, which will finish up at the Hoxton Square Bar & Kitchen on 11 Nov. Here's the new video for 'Sabbath'.

One Direction's Niall Horan can touch his bum with his foot.

CMU Beef Of The Week #263: Nicki Minaj v Taylor Swift
Taylor Swift might have thought she was going to make it out of this week ahead on brownie points. After much criticism in recent weeks for the contract she had been asking photographers to sign before being granted access to her live shows, she created a new agreement that is less restrictive.

In fact, she went so far as to draw up the contract with the help of the US National Press Photographers Association. Swift, the organisation's general legal counsel Mickey H Osterreicher said, "should be commended" for her reaction to accusations that she - and many other artists - were making it difficult for photographers to make a living from their work. See? Total brownie point overload. Then she ruined everything with a single tweet.

But, hey, that's not where the story starts. It starts with the nominations for this year's MTV Video Music Awards, the arbiter of all artistry in short form video making. Nicki Minaj came out of the announcement with three nominations in all, for Best Female Video, Best Collaboration and Best Hip Hop Video.

A pretty good haul, but notably missing was a nod in the overall Video Of The Year category. Instead, all the nodding went to Beyonce, Ed Sheeran, Mark Ronson and Bruno Mars, Kendrick Lamar and that Taylor Swift.

Noting that neither her 'Anaconda' or 'Feeling Myself' videos had made it to this category, or the Best Choreography list for that matter, Minaj tweeted "Hey MTV, thank you for my nominations. Did 'Feeling Myself' miss the deadline or...?"

No need to fill in that 'or', because she continued: "If I was a different 'kind' of artist, 'Anaconda' would be nominated for Best Choreo and Vid Of The Year as well. When the 'other' girls drop a video that breaks records and impacts culture they get that nomination".

Summing up her thoughts, she added: "If your video celebrates women with very slim bodies, you will be nominated for Vid Of The Year".

All five nominated videos could be said to celebrate women with slim bodies to some degree, but Swift seemed to think it was a dig at her in particular, and fired a response back to that specific tweet, saying: "I've done nothing but love and support you. It's unlike you to pit women against each other. Maybe one of the men took your slot".

Minaj wrote back: "Huh? You must not be reading my tweets. Didn't say a word about you. I love you just as much. But you should speak on this".

Speak? Hey, why don't you do it yourself, said Swift: "If I win, please come up with me! You're invited to any stage I'm ever on".

And therein lies the basis of about four billion column inches in the space of a mere few hours. And those column inches then generated yet more about the previous column inches. And then these 30 column inches, for good measure.

In many initial reports, the story was entirely framed as Minaj attacking Swift - or making "jabs" at her in one case - to which Minaj wrote: "Nothing I said had to do with Taylor. So what jabs? White media and their tactics. So sad. That's what they want".

She added in response to a fan saying that these media organisations were missing the point: "They're not missing the point, they're just attempting to overshadow the point. Oldest trick in the book".

Particularly singled out for criticism was a piece by Glamour, which portrayed Minaj as some sort of crazed loon and Swift as a calm and reasoned bringer of peace to the land, and an accompanying tweet from the mag linking to the piece saying, "Taylor Swift shut down Nicki Minaj on Twitter and it was WONDERFUL"; thus proving the point Minaj was making about the media's portrayal of women who don't fit into a very specific, preferably white and thin, mould.

Minaj herself commented on this article, while praising another by Guardian writer Nosheen Iqbal, who wrote: "The broader point Minaj is making is clear: throughout music history, black women aren't recognised in the popular music canon in the same way their white counterparts are".

That seems like a perfectly valid point simply expressed. And while Minaj was acting presumptuously in thinking that the Video Of The Year title was hers to have in the first place, given the attention the 'Anaconda' video got upon its release, it's possible that who she is might have worked against her somewhat.

But, hey, why discuss a broader topic when you can make something about yourself? Enter Katy Perry. "Finding it ironic to parade the 'pit-women-against-other-women argument' about as one unmeasurably capitalises on the take down of a woman", wrote Perry, seemingly noting that 'Bad Blood' - the video for which Swift is nominated - is a song about a feud between the two musicians.

Perry then threw a further cat amongst the pigeons by announcing that the real slight in the VMA nominations for Video Of The Year was the omission of Rihanna's 'Bitch Better Have My Money', which, while only recently released, noted Perry, was in fact put out within the eligibility period.

It's hard to know if that's Perry bringing things round to Minaj's original point or not. To be honest, at this stage it's hard to keep up with anything in this whole saga, so I think bringing it around to the original point is a good idea, even if that wasn't Perry's aim.

Awards nominations shouldn't be something that anyone gets upset about. In fact the world would be a much better place if there were no awards at all. Awards are stupid. And what about the very concept of gendered awards - how is it relevant to have separate best male and female videos? Gender isn't a musical genre. Stop doing that, awards ceremonies.

Though all that said, while the MTV VMAs continue to exist and continue to stir up controversy, they do serve to highlight issues like this. And MTV often seems to revel in all that (did I mention that Miley Cyrus is being rewarded for her contribution to the ceremony's reputation by being made host this year?), even though it could be making waves just as big by challenging them.

Meanwhile, a day later Swift returned to Twitter to apologise, saying: "I thought I was being called out. I missed the point, I misunderstood, then misspoke. I'm sorry, Nicki".

"That means so much Taylor, thank you" Minaj replied. In another tweet she added: "I've always loved her. Everyone makes mistakes. She gained so much more respect from me. Let's move on". So I guess it's all sorted. But did Taylor Swift lose all her brownie points or not?

 
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.

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