FRIDAY 7 AUGUST 2015
TODAY'S TOP STORY: This whole SFX saga is getting to the point where I need a diagram. I haven't made one yet. I'll get one made this weekend. I'm at the Edinburgh Festival. I'll get someone to chalk it on the cobbles and take a photo of it. You may remember that - in the middle of SFX founder Robert Sillerman trying to take his EDM powerhouse back into private ownership by buying back all... [READ MORE]
 
TODAY'S APPROVED: Setting out to showcase the best in Jamaican and Caribbean-infused bass music, Rum N Bass is a brand new night, presenting some bass-heavy beats in room one and a slice of dancehall and reggae sounds in room two. Headlining the launch event is a CMU fave, Congo Natty aka Rebel MC, backed up by grimester Frisco and the curator of this night, Benny Page... [READ MORE]
 
BEEF OF THE WEEK: Hey look, we're back here again. Turns out Taylor Swift still doesn't much like Spotify. She has 'bad blood' with the streaming service, as 86% of the reports on this new beef noted this week. The topic came up in an interview with Vanity Fair, in which she was asked about the open letter/blog post she wrote to Apple earlier this year, decrying its planned policy to pay no... [READ MORE]
   
CMU PODCAST: CMU's Andy Malt and Chris Cooke review the week in music and the music business, including facts, figures, rumours and deals at Apple Music, Universal's new playlist marketing boss Jay Frank, the latest on Robert Sillerman's attempts to buy back SFX Entertainment and the knock on effects for Beatport, plus the surprise new album from Dr Dre. The CMU Podcast is sponsored by 7digital... [LISTEN HERE]
TOP STORIES More strange goings on with SFX shares, as Beatport payment delays continue
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LEGAL Sony/ATV demands Beatles doc lawsuit be dismissed following UK copyright ruling
Judge refuses to reconsider Beats co-founder royalty claim
Giving Ticketmaster primary and secondary ticketing is consumer-friendly and not anti-competitive, according to basketball team
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DEALS BMG sync team to walk on sunshine (I hope they have good shoes)
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LABELS & PUBLISHERS Warner follows Universal's lead in pursuing artist-based film projects
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ARTIST NEWS Dr Dre to donate Compton royalties to arts centre
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GIGS & FESTIVALS Ed Sheeran replaces Justin Bieber at Fusion Festival
Ninja Tune to celebrate 25 years with London events
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AND FINALLY... CMU Beef Of The Week #264: Taylor Swift v Spotify
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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.
 
 
MUSIC CONCIERGE - CLIENT SERVICES MANAGER (HERTFORD)
Music Concierge, the award-winning music consultancy for boutique hotels and luxury brands, is looking for a Client Services Manager to manage our expanding creative and account management teams and oversee the smooth day-to-day operations of the business, whilst liaising at senior level with world-class brands.

For more information including a full job description and how to apply click here.
   
THE ORCHARD - ACCOUNT CO-ORDINATOR, VIDEO SERVICES (LONDON)
As an Account Co-ordinator in the Video Services department, you are vital in helping to scale our fast growing Video Services business in Europe; executing on a value proposition that drives client satisfaction, engagement and revenue. You are a positive, smart, creative and analytical forward-thinker, and an Orchard evangelist in and outside of the company.

For more information including a full job description and how to apply click here.
   
AIR ARTIST AGENCY - PERSONAL ASSISTANT (LONDON)
Air Artist Agency is an innovative live music agency. The agency represents the cream of today's jazz musicians, cutting edge innovators and mainstream established artists. With an extensive worldwide network of contacts, we book for emerging talents as well as established artists. We are looking for a personal assistant to one of our directors.

For more information including a full job description and how to apply click here.
   
AUDIO NETWORK - PRODUCT AND A&R MANAGER (LONDON)
Working in our London office, we are looking for a music industry professional with passion and experience to join the Audio Network Music Team, primarily as cross discipline (B2B and B2C) Product Manager but also in support of all A&R functions.

For more information including a full job description and how to apply click here.
   
BIMM LONDON - EVENTS & GUESTS ASSISTANT (LONDON)
The post holder will have a supporting role to the Head of Events & Guests with specific responsibility for BIMM in house and external events, gigs, artist auditions, masterclasses and supplying the marketing department with information on events, guests and student success stories.

For more information including a full job description and how to apply click here.
   
BIMM MANCHESTER - HEAD OF HIGHER EDUCATION & COURSE LEADER (MANCHESTER)
The post holder will be a highly experienced, dynamic professional with a strong background in music and in education who will share responsibility for the leadership, creative development and delivery of all the academic activities of BIMM Manchester.

For more information including a full job description and how to apply click here.
   
BIMM MANCHESTER - COURSE LEADER BA PROFESSIONAL MUSICIANSHIP (MANCHESTER)
The role requires an inspirational course leader and teacher who can also bring a high level of music industry and academic experience and demonstrate an understanding of, and affinity with, the curriculum at BIMM Institute.

For more information including a full job description and how to apply click here.
   
BIMM MANCHESTER - STUDENT SUPPORT OFFICER X 2 (MANCHESTER)
We are seeking to appoint an enthusiastic experienced, dynamic professional with a background which will enable them to take on a key role in upholding all Student Support systems to ensure all students complete their studies and achieve at the highest level.

For more information including a full job description and how to apply click here.
   
BIMM DUBLIN - RECEPTIONIST (DUBLIN)
The successful candidate will be the first point of contact for all students, tutors and visitors to BIMM Dublin. Working within the reception team, the role will involve dealing with a high volume of calls and responding to all queries in a timely and informative manner.

For more information including a full job description and how to apply click here.
   
BIMM DUBLIN - RECEPTIONIST (TEMPORARY CONTRACT, 6.5 MONTHS) (DUBLIN)
The successful candidate will be the first point of contact for all students, tutors and visitors to BIMM Dublin. Working within the reception team, the role will involve dealing with a high volume of calls and responding to all queries in a timely and informative manner.

For more information including a full job description and how to apply click here.
   
BIMM DUBLIN - TEMPORARY STUDENT SUPPORT OFFICER (DUBLIN)
The Student Support Officer will have a key role in supporting the QSS Manager in ensuring that all aspects of the School’s Student Support provision, including pastoral tutorials, counselling, learning support welfare awareness programmes and student representative programme are delivered in line with the requirements of our key educational partners and in order to support all students at BIMM Dublin.

For more information including a full job description and how to apply click here.
   
SOLD OUT - JUNIOR SOCIAL MEDIA EXECUTIVE (LONDON)
Sold Out is an independent full service advertising agency, specialising in arts and entertainment for 20 years. You will be supporting the business through effective implementation of social media campaigns for a variety of clients across the entertainment market. The role is ideal for a recent graduate or for a first full-time job.

For more information including a full job description and how to apply click here.
   
MUSIC GLUE - HEAD OF SALES AND MARKETING (LONDON)
Music Glue, the world’s leading D2F e-commerce platform, is looking for a Head of Sales and Marketing to lead our sales team. You will be an experienced and well-organised sales professional with wide ranging contacts, an excellent network in the music industry and a keen desire to make a name for yourself in a fluid, exciting role.

For more information including a full job description and how to apply click here.
   
MUSIC GLUE - DIGITAL COMMUNICATIONS MANAGER (LONDON)
Music Glue, the world’s leading D2F e-commerce platform, is looking for a Digital Communications Manager to join our team. We’re looking for an experienced communications professional who is searching for a job unlike any other in music or PR. Music Glue is a company at the forefront of the ongoing revolution in music and we want someone who is as comfortable evangelising our brilliant new features to our rapidly increasing user base as they are crafting the messaging and voice of the company as a whole.

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.
 
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
 

More strange goings on with SFX shares, as Beatport payment delays continue
This whole SFX saga is getting to the point where I need a diagram. I haven't made one yet. I'll get one made this weekend. I'm at the Edinburgh Festival. I'll get someone to chalk it on the cobbles and take a photo of it.

You may remember that - in the middle of SFX founder Robert Sillerman trying to take his EDM powerhouse back into private ownership by buying back all the shares he doesn't currently control - in June the company then sold $10 million in stock to two other parties, Wolverine Flagship Fund Trading Limited and Virtual Point Holdings LLC.

In those deals, the two firms paid $4.34 a share, which seemed like a very good arrangement - for them - given that Sillerman was already offering to buy back each and every SFX share out there at $5.25 a pop. Meaning that once the Sillerman buy-back deal got full approval, the two new equity holding vehicles would each make a quick tidy profit. Meanwhile SFX got some handy short term cash flow out of the arrangement, it seemed.

But now, according to Forbes, Virtual Point Holdings has already sold its SFX shares to another Sillerman company at the price it originally paid for them, ie $4.34. Which may be somewhat ahead of what they'd get for that stock on Wall Street just now - where SFX's share price is just over $3 - but it's quite a bit lower than the $5.25 offer that is meant to be on the table.

As previously reported, earlier this week SFX asked its founder and CEO to prove within a fortnight that he had the finance in place to fund his buy-back plan. There was quite a bit of resentment on Wall Street about Sillerman's buy-back bid to start with - he having only floated SFX in 2013 - though recent developments have led to more resentment. And confusion. The latest share transaction is, in Forbes' words, "a puzzling move".

All eyes will now be on a quarter two SFX earnings report that is due to be made public next week. Meanwhile much chatter continues in the record industry about the announcement earlier this week by SFX's digital music store Beatport that it won't be able to pay labels their quarter two sales revenue while Sillerman's buy back project is going through the motions.

For indie dance labels with tight cash flow, a delay in what is likely a significant revenue stream is a big hassle. Criticism of the payment delay and the way Beatport communicated it heightened yesterday, in part because of speculation that the majors were paid their sales income, and it's only the indies which are being made to wait.

As previously reported, independent distributor Believe said yesterday that it would pay its clients any Beatport income they were due anyway, even though it awaits payment from SFX. And yesterday another distributor with an extensive dance music client base, EPM, announced it was doing the same.

The firm's Jonas Stone said: "As a digital distributor, publisher and fellow underground dance music label we understand only too well of the reliance on these payments to keep everyone's label running where cashflow is often tight. Whilst we advance these payments to our label partners, Beatport remains a key sales platform for everyone in the dance music community and we look forward to them being back on track in the very near future".

Sony/ATV demands Beatles doc lawsuit be dismissed following UK copyright ruling
Music publisher Sony/ATV and Beatles company Apple Corps have both asked a New York federal court to dismiss litigation relating to a dispute over a documentary about the fab four. The producer of said documentary wants its lawsuit to be 'administratively closed', so taken off the agenda for now, but with the option to resume proceedings later.

As previously reported, in 2013 a company called Ace Arts went legal against the Sony publisher and Apple Corps over a documentary it was making featuring footage of The Beatles' first ever US concert in Washington in 1964.

Ace Arts claimed that Sony/ATV had originally agreed to licence the publishing rights it controls in the various Beatles songs that appear in the concert recording, but later bailed on that agreement citing a clause stating that it was always subject to Apple Corps approval. The claimants alleged that the change of heart was because Sony/ATV and Apple Corps had decided to collaborate on a similar project about the Washington gig, and that that breached American competition laws.

Ace Arts originally filed a complaint in California, though then moved its lawsuit to New York. But Sony/ATV, aside from disputing most of the film firm's claims, pointed out the same dispute was working its way through the UK courts - in the guise of a copyright infringement lawsuit - and that therefore the separate US proceedings were unnecessary, even if the latter were more competition than copyright law based.

The judge hearing the New York case originally refused to dismiss Ace Art's US litigation, but then last month the UK case reached the high court and judges there ruled in favour of Sony/ATV and Apple Corps, to the effect that any provisional agreement between the Sony publisher and Ace Arts was not binding and that the latter's use of Beatles songs in their documentary was therefore copyright infringement. Claims by the filmmakers that they were covered by US fair use rules were also rejected.

With that in mind Sony/ATV and Apple Corps now want the pending US case thrown our, arguing that the matter has been resolved in the UK. For their part Ace Arts says that it has the right to appeal over here, so the New York litigation should only be postponed while it goes through the motions under English law. And for its part, Sony/ATV says that's irrelevant and the New York case should be axed pronto.

So fun, fun, fun.

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Judge refuses to reconsider Beats co-founder royalty claim
A Californian judge earlier this week refused to reconsider one of the various bits of litigation that has surfaced in recent years around the big Beats venture. This one was a lawsuit filed by a man who claimed to have originally pitched the idea of celeb-endorsed headphones to then Universal Music exec Jimmy Iovine, the idea out of which the entire Beats business grew.

As previously reported, one time hedge-fund manager Steven Lamar claims that, after pitching his idea to Iovine in 2006, and after the Universal man had brought Dr Dre into the venture, he put together a consortium of companies to make the project happen, including Pentagram which designed the initial product and a Chinese company who would handle manufacture.

But the whole venture quickly went legal, after Iovine and Dre accused the other partners in the project of failing to meet contractual commitments and of plotting to bring out their own Beats headphones without Dre's involvement. That dispute was settled out of court the same year, with the early partners in the business - ie Pentagram and Lamar's companies - being offered a 4% royalty payment on the sale of certain Beats headphones.

Disputes then arose around that settlement early last year, just as Apple was in talks to buy the headphone maker and its fledgling streaming service. The core dispute was exactly which Beats headphones the early business partners were due a royalty on, with Lamar arguing that he was due a cut on more product lines. There were also allegations that Pentagram and Beats had reached a separate agreement that cut him out of the picture. Either way, he reckoned he was owed a neat $150 million

But back in June the judge hearing the case sided with now Apple subsidiary Beats, ruling that his interpretation of the 2006 agreement limited Lamar's royalty to just the earliest Beats headphones, and not subsequent product releases. But Lamar's legal reps went back to court, citing certain legal technicalities as to why the judge should reconsider.

One key debate, according to Law 360, centred on comments made by the judge in June to the effect that he was lacking an expert opinion that could shed more light on the 2006 agreement. Lamar's attorneys said that they now had such an expert whose opinion did not concur with the judge's initial ruling. Lawyers for Beats then argued that lawyers for Lamar hadn't included this argument in their papers prior to the latest hearing. So it was technicality on top of technicality really.

Either way, Beats won. Said the judge: "All I know is, I've made a decision on the case and the motion for reconsideration is denied. Good luck. I know you've done a lot of paper generating. I'm sorry, but that's my decision".

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

Giving Ticketmaster primary and secondary ticketing is consumer-friendly and not anti-competitive, according to basketball team
Another recent development in an ongoing case in the Californian courts now, this time StubHub's previously reported lawsuit against Ticketmaster and basketball team the Golden State Warriors.

As previously noted, eBay-owned ticket resale site StubHub objects to the Warriors' ticketing alliance with Live Nation's Ticketmaster, which is both primary ticket seller for the team and operates the Warriors' official season ticket resale platform. As a result of that tie-up, the Warriors company is prone to cancel any tickets it sees being resold on other resale sites like, say, StubHub.

In what seemed like an optimistic lawsuit from the start, the eBay company argued that this set up violates competition law, because Warriors fans can only buy tickets - whether through primary channels or on the resale market - via the Live Nation subsidiary.

Ticketmaster hit out at the litigation from the off, while in a recent court filing the Golden State Warriors said that its ticketing partnership in no way violated any competition laws - or anti-trust rules, to use American terminology - because if customers didn't want to buy tickets via a Ticketmaster platform, they could always go watch some other basketball team play.

According to Law 360, reps for the Warriors wrote in their recent submission, in a way that enabled a brag about the team's recent success in the NBA Championship: "Even a seller of a highly attractive product - which, at this moment, Warriors tickets may be - must consider competition from reasonably interchangeable products".

They went on: "The anti-trust laws protect competition and are not a guarantee of business to any particular competitor. The events described in StubHub's [complaint] reflect ordinary competitive processes, not antitrust violations".

Although a sporting industry case, this dispute has potentially wider implications for the secondary ticketing market at large, the deals done between event promoters and specific resale services, and any resulting cancellation of tickets touted elsewhere (a practice usually allowed under any one ticket's terms and conditions).

Later in their submission the Warriors also argue that having the same company handling primary ticketing sales and subsequent resales is actually in the interest of consumers, because it prevents potential fraud. They say: "The benefit of this integration is obvious: Ticketmaster is the only third party able to confirm that a ticket offered for resale is a valid ticket and to prevent an individual from reselling the same ticket multiple times".

BMG sync team to walk on sunshine (I hope they have good shoes)
BMG has acquired both the song and recording rights to that there 'Walking On Sunshine' by Katrina and her Waves, possibly assuming that every 'summer songs' playlist on every streaming service in the world will include that record, so just watch those Spotify and Apple Music royalties roll on in. No, not really, this is all about the sync.

The 1980s hit is already a favourite amongst the syncers, because it's always summer somewhere, and BMG is hoping that its top sync licensing machine - and the fact all the rights in the song are in one place - will provide further opportunities for some of the finest sync-based money making.

Says BMG's EVP Marketing & Sync Patrick Joest: "The striking thing about 'Walking On Sunshine' is its ability to work across virtually every medium from film to TV and advertising - and in virtually any product category. It is a song loved around the world, working across cultures and languages".

'Sunshine' comes to BMG via an acquisition of the Kyboside catalogue, which includes most of the oeuvre of Katrina And The Waves founder member and principle songwriter Kimberley Rew, who is British of course, which is how the band could represent the UK in Eurovision in 1997 even though Katrina Leskanich herself is American. That Eurovision winning song, 'Love Shine A Light', is also part of this deal.

Warner follows Universal's lead in pursuing artist-based film projects
Universal Music big cheese Lucian Grainge recently confirmed to Bloomberg that his company - having led on the recent Amy Winehouse biopic 'Amy' - now had ambitions to step up its movie and TV activities, creating other productions based around artists signed to and records release by the major. Productions which may or may not wind up the families of the artists they feature. That approach certainly guarantees extra press.

Anyway, now Warner Music has announced an alliance with a film financing and production company, London-based Catalyst Global Media, via which similar biopics and documentaries based around its artists will be developed. "Catalyst will develop and finance the projects and oversee worldwide distribution", says the film firm, as part of a multi-territory, multi-picture deal.

Catalyst co-founder Al Hardiman, who also heads up the company's music division, will work with Rich Robinson and Jen Moss in Warner Music's sync team to seek out source materials for film projects from the Warner Music archives. The new partnership builds on a past alliance between the two companies, where Warner provided music supervision services on Catalyst film and TV projects.

Confirming the new tie up, Hardiman told reporters: "Music is a key part of the DNA here at Catalyst, and we are thrilled to be partnering with Warner Music to bring a selection of compelling stories to the screen based on musical legends past and present. The power of music to capture the human spirit and to speak to audiences across the world is unrivalled and this co-venture provides a wonderful opportunity in film to explore these artists, their lives and their work in a very inspiring way".

Of course, both Universal and Warner were once sister companies to movie studios, but both have since been spun off from their Hollywood counterparts, so that the film and music companies using the Universal and Warner names are not in common ownership. Having two Universals and two Warners now making movies, that won't be at all confusing.

  Vigsy's Club Tip: Rum N Bass with Congo Natty, Benny Page, Frisco and more at Proud Camden
Setting out to showcase the best in Jamaican and Caribbean-infused bass music, Rum N Bass is a brand new night, presenting some bass-heavy beats in room one and a slice of dancehall and reggae sounds in room two.

Headlining the launch event is a CMU fave, Congo Natty aka Rebel MC, backed up by grimester Frisco and the curator of this night, Benny Page. Potential Badboy adds some jungle vibes with reggae performances and hosting from the Demolition Man.

In the second room expect dancehall and reggae from Orange Hill, Jamie Rodigan and Daddy Nature, while in The Stable you will get some UKG and jungle through the night.

So lots of sonic flavours here, mix the rum and bass as you please.

Friday 7 Aug, Proud Camden, Chalk Farm Road, Camden, NW1 8AH, 10.30pm-4am, £10. More info here.
CLICK HERE to read and share online
 

Dr Dre to donate Compton royalties to arts centre
Dr Dre has announced that he will donate royalties from his "grand finale" new album, 'Compton', to a new performing arts centre in the city from which it takes its name.

Appearing on Zane Lowe's Beats 1 show yesterday, Dre said: "I feel it's the right thing to do and I hope everybody appreciates the work I put into this album. We've reached out to [Compton mayor] Aja Brown quite a few times in the last month or two. I've been really trying to do something special for Compton and just couldn't quite figure out what it was. She actually had this idea and she was already in the process of working on it. I said, 'Boom, this is what we should do'".

As previously reported, Dre announced the album, inspired by NWA biopic 'Straight Outta Compton', on his Beats 1 show last weekend, and it was released on iTunes and Apple Music this morning.

Ed Sheeran replaces Justin Bieber at Fusion Festival
Ed Sheeran will headline the first night of this year's Prince's Trust supporting Fusion Festival, after Justin Bieber pulled out of the event earlier this week. Which shows that, despite Bieber's efforts, there is still someone nicer than him in the world.

As previously reported, the Biebster tweeted earlier this week that he had to cancel his appearance "due to an unforeseen issue", but that he would "make it up" to his UK fans and the Trust as soon as possible.

Still, with Fusion only a few weeks away, that put the festival in a tricky situation. Luckily, Sheeran stepped forward to fill the slot as soon as he heard the news.

"This is incredible news", said event director Damien Sanders. "When Ed heard that Justin Bieber had pulled out he contacted us and offered to step in at the last minute, this is an amazing gesture from an all-round great guy and Ed really has saved the day, we are all eternally grateful. We look forward to a spectacular show and are delighted to have secured one of the biggest acts in the world".

Sheeran added: "I'm delighted to be playing Fusion Festival after stepping in at the last minute to help out the guys at Fusion and support The Prince's Trust. Birmingham crowds are always lively, so I can't wait to come back".

Fusion Festival takes place at Crofton Park in Birmingham on 28-30 Aug.

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Ninja Tune to celebrate 25 years with London events
Ninja Tune has announced a number of events in London later this year to mark its 25th anniversary.

Here are the dates and line-ups:

30 Oct - St John At Hackney: King Midas Sound & Fennesz, Dean Blunt, Shackleton
20 Nov - The ICA: Actress, Lowtec, Florian Kupfer
12 Dec - Corsica Studios: Headliner TBA, HNNY, Flako, Gelenn Astrao, Josey Rebelle

CMU Beef Of The Week #264: Taylor Swift v Spotify
Hey look, we're back here again. Turns out Taylor Swift still doesn't much like Spotify. She has 'bad blood' with the streaming service, as 86% of the reports on this new beef noted this week.

The topic came up in an interview with Vanity Fair, in which she was asked about the open letter/blog post she wrote to Apple earlier this year, decrying its planned policy to pay no royalties to rightsholders during Apple Music's three month free trial.

"I wrote the letter at around 4am", Swift explained. "The contracts had just gone out to my friends, and one of them sent me a screenshot of one of them. I read the term '0% compensation to rightsholders'. Sometimes I'll wake up in the middle of the night and I'll write a song and I can't sleep until I finish it, and it was like that with the letter".

Still, she said, she was worried that she would be criticised for writing the missive, and that "people would say, 'Why won't she shut up about this?'" after the article she wrote for the Wall Street Journal last year arguing that music should not be available for free.

"My fears were that I would be looked at as someone who just whines and rants about this thing that no one else is really ranting about", she added. Which possibly shows a lack of awareness about the wider debate in the artist community over streaming royalties, given that the main reason her letter was so well received was because so many other people were already ranting about Apple's freebie plans.

The apparent result of the letter, of course, was that Apple took on board Swift's complaint and almost instantly did a U-turn on its policy on free trial royalties. I still think it more likely that Apple was already planning to do this - thanks to the efforts of many in the indie music sector behind the scenes - but tagging it to Swift's letter provided the perfect PR angle.

After all, the dispute was over a fairly standard clause in digital music service contracts - except that Apple's free trial was three times longer than the norm - nevertheless Apple possibly didn't expect quite the level of controversy it got, but at the same time, with such deep pockets, could afford to quickly change its mind once the indie community hit out.

People less cynical than me might say that a big name artist clearly laying out their concerns made it apparent to Apple that this wasn't just the corporate music industry being greedy, and was something that required attention.

That's certainly how Swift seems to see it, telling Vanity Fair: "Apple treated me like I was a voice of a creative community that they actually cared about. And I found it really ironic that the multi-billion dollar company reacted to criticism with humility, while the start-up with no cashflow reacted to criticism like a corporate machine".

That "start-up with no cashflow", of course, is Spotify. Which, when she pulled her entire catalogue from its service last year, just said, 'OK, that's your choice, but if you want to come back that would be great'.

It's not really fair to compare the two services like-for-like though. Spotify is a standalone business - what it's selling is Spotify. Swift wanted to be able to pull her music from its freemium subscription level, but Spotify felt that allowing artists to pick and choose which users their music was available to would be detrimental to its business model, of having a great freemium platform via which to upsell premium.

Apple Music, on the other hand, is a supplementary product designed to make its hardware more attractive. The product is not Apple Music, it's iPhones. If Apple can convince people to sign up for its streaming service, build a load of playlists, and lock themselves into it as their default music player, then they're less likely to buy an Android phone when they're next due an upgrade (even once Apple Music arrives on Android, the iOS experience is likely to be better). So it's in Apple's interest to throw all the bells and whistles it can at it.

And while backtracking on the free trial royalty thing was expensive, think of the marketing benefits Apple got. "Hey, if you sign up for this artists are going to get paid, even though we're not making any money from this right now!" Thanks multi-billion dollar company. "Hey, did you know we're great mates with Taylor Swift and we have all of her music available for you?" Oh, that's so cool. "And all this is already available at the touch of a button on your iPhone!" Great, now all my music is stored on Apple's servers, along with my photos, ebooks and tickets, I'll for sure stick around with you guys.

Speaking as someone sitting here writing this on a MacBook, with an iPhone and iPad in easy reach, I can comfortably say that, while I'm not an avid user of all the ways that Apple tries to lock me to its devices, I use enough of them routinely that the thought of switching to non-Apple products is a daunting and unappealing prospect. Therefore, to suggest that Apple wasn't acting in anything like a corporate-minded manner when it apparently responded to Swift's plea is a bit short-sighted.

Spotify may have been acting like a "corporate machine" too, but what it was protecting was fundamental to its existence. And while in her battle with Apple Swift was highlighting unfairness for artists less well off than her, in her battle with Spotify it was far more a case of two corporate machines going head-to-head. Taylor Swift, let's not forget, is very much a business.

There may be problems with the "grand experiment" of streaming (as Swift once described it), and Spotify's answers may not be the right ones, but Spotify also has a lot more to lose than Apple does when it comes to making these choices. Which could be why it takes a bit more time to think about them.

Hey, in the interests of balance, why don't we try to find an artist who isn't so pro-Apple Music? Who could we possibly find to have a negative opinion about such a thing? Oh, of course, Noel Gallagher. "Apple Music, world radio, is that some sort of George Orwell shit going on?" he asked the Varvet International podcast. "Who's so arrogant to say, 'We now fucking own world radio'?"

It's worth noting he didn't seem to realise there was anything beyond the Beats 1 radio station on the Apple Music platform, which possibly highlights a communication problem for the tech firm. Or that Gallagher wilfully ignores such things. Or possibly both. He had at least glanced at the new service though: "It came up on my phone, so it's there. What would I listen to? It's not playing The Kinks. Unless there's a genre that says 'Noel Gallagher's music selection' then I'm not fucking interested in it".

Yeah, The Kinks and your own music collection are definitely on there. Still, he did concede that streaming "is clearly the future", but added that when it becomes the norm that music is available "for rent" then "that's a sad day".

 
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