TODAY'S TOP STORY: This morning the UKs Music Manager's Forum published 'Dissecting The Digital Dollar', a major new report produced by our consultancy unit CMU Insights. Commenting on the report, its author, CMU Business Editor Chris Cooke, says: "The music business exists, first and foremost, the help artists turn what they do into money, so that they can give up the day job... [READ MORE]
TODAY'S APPROVED: Influenced by London's grime and bass music scene, Swiss duo La Vie C'est Facile released their debut EP, 'Fun Zone', through Creaked Records earlier this month. Filtered through following these scenes at a distance, they create dark, minimal electronic tracks that swallow you as you listen. Commenting on their creative process in a recent chat with labelmate... [READ MORE]
CMU PODCAST: CMU’s Andy Malt and Chris Cooke review the week in music and the music business, including Pandora's acquisition of ticketing service Ticketfly, Modular Recordings' legal disputes with Universal Music and BMG, the US Copyright Royalty Board's review of SoundExchange royalties and George Osborne's love of NWA. The CMU Podcast is sponsored by 7digital... [LISTEN HERE]
TOP STORIES MMF publishes major report to inform the digital dollar conversation
LEGAL Experience Hendrix sues over "stolen" guitar
DEALS Kygo signs to Sony/ATV
LIVE BUSINESS Three MAMA venues renamed by O2
Live Nation Australia announces wide-ranging tie up with Telstra
BRANDS & MERCH New fashion-linked label announces new fashion link
MEDIA John Whittingdale says he is a supporter of BBC music
U2 and Take That hail return of TFI Friday
ONE LINERS Sony Music, Mollie King, Ed Sheeran, more
AND FINALLY... Wiz Khalifa loves nature (ie pissing on walls)
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Global Publicity specialise in worldwide PR and communications for music, festivals and events. We are currently recruiting for an experienced PR Co-ordinator based in London or Berlin. As the PR Co-ordinator you will work across multiple accounts, taking responsibility for day-to-day activities such as campaign planning, writing press releases, contacting media with news about our projects, updating social media and keeping press reports and admin up to date.

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For the eigth year running, The O2 has secured its status as the world’s most popular music venue (we do sport too), hence the importance of selling tickets and supporting content in the arena and across the campus has never been greater. The focus of this role is to develop marketing campaigns with the primary objective of selling tickets to all events at The O2. Experience working with ticket agents, promoters and event organisers (as well as an understanding of trends and marketing tools geared to drive ticket sales) is essential in order to succeed in this role.

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Reporting to the VP, International, the UK Brand Manager should have a deep understanding of, and an extensive network in both the UK music market and the indie scene. They will come from the independent music industry and will be responsible for the development of TuneCore’s brand across the UK. He or she will initiate and follow key B2B partnerships, promote TuneCore at industry events, and more generally set up all acquisition deals, which will help TuneCore to develop its UK Business.

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Valley Music is looking for a Management Assistant to join their Management team. This is a fantastic opportunity for anyone looking to break into the music industry. Based in beautiful offices in Henley-on-Thames, the position will be working primarily with two experienced Artist Managers and a team consultant. There is also opportunity for eventual growth into own client establishment with company approval and support.

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9PR are looking for new additions to our growing team. Our roster includes key independent and major record labels, big name acts and hotly-tipped new artists. At least two years’ experience in either print or online PR is essential and those able to do both will get preference.

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Bucks Music Group, an international and independent music publisher with a rich musical heritage is seeking a Head Of Business Affairs. The candidate we are looking for should be legally qualified (with around three years PQE) or experienced to a similar level, with an understanding of the specific demands and requirements of an in-house business affairs function.

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7digital is looking for an enthusiastic and experienced Label & Promotions Manager to join our team based in East London. The Label & Promotions Manager will be solely responsible for all relationships with French labels and well as the French store management. This includes co-ordinating promotions and store updates for our own website and apps as well as providing curation services for partners.

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Working alongside the Chief Executive and General Manager, you will be the gateway for communications about the MPA Group of Companies comprising MPA, MCPS, IMPEL and PMLL, and their work to their members, industry stakeholders, the press and the general public.

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MMF publishes major report to inform the digital dollar conversation
This morning the UKs Music Manager's Forum published 'Dissecting The Digital Dollar', a major new report produced by our consultancy unit CMU Insights.

Commenting on the report, its author, CMU Business Editor Chris Cooke, says: "The music business exists, first and foremost, the help artists turn what they do into money, so that they can give up the day job and make music full-time. The industry tends to shield artists from the day-to-day workings of the business, so that they can focus on writing and recording and performing great new music, and that's as it should be".

"However", he goes on, "in the last decade there has been a fundamental shift in the recorded music industry, from a units-based CD business to a revenue-share subscription business, and that has required a new approach and new licensing models. Labels, publishers and collective management organisations have been busy honing those approaches and models, but as the industry further evolves, it's time for artists and their managers to join the conversation".

A survey of 50 leading artist managers conducted as part of the survey demonstrated that this is yet to really happen. Less than 10% knew the key elements of the deals struck up by all their artists' labels with the streaming platforms, what charges and deductions labels were making from their digital income and how publishing royalties were being distributed. And less than a fifth had been invited to a briefing on digital income and royalties by their artists' labels. Which is why the issue most managers would most like the government to assist on is forcing more transparency on the digital market.

But, Cooke adds, there is another problem. "Even if the music rights companies are willing to begin a conversation - and many labels, publishers and CMOs are now talking about the need for more transparency - the way streaming services are licensed is complex, partly because of the business model, partly because of legacy copyright frameworks. If the conversation is going to be productive it needs to be informed. Which is why the MMF commissioned this report".

The report, based on nine months of research, explains how music copyright works and where performer rights fit in, reviews how traditional music products were licensed, and then explains how most streaming services do deals and pay the music companies, and how that money passes through to the different stakeholders. It then identifies the seven key issues that should form the conversation.

These are...

1. Division of streaming revenue
Is the division of streaming income between each of the stakeholders fair? This includes the split between the streaming services and the music community, between the recording and the song copyright, between the so called 'reproduction' and the 'performing rights', and between the artist and the label.

2. Performer equitable remuneration and making available
Performer rights in many countries say that all artists are due 'equitable remuneration' when their 'performing rights' are exploited. However, most labels argue that digital services exploit a specific and separate performing right called the 'making available right', and that equitable remuneration is not due on this income. Not all artists agree, while some acts with pre-1990s record contacts argue that labels cannot exploit this right anyway without their specific approval.

3. Digital deals and NDA culture
Labels, publishers and CMOs have created templates for streaming service deals, with revenue share arrangements, minimum guarantees, advances, equity and other kickbacks. Artists and managers are often kept in the dark about these arrangements; are rarely consulted on the merits of each component of the deal; and many feel artists are being unfairly excluded from profits generated by advances, equity and other benefits offered to corporate rights owners.

4. Safe harbours and opt-out services
While some streaming services only carry content provided by label partners, others - including YouTube and SoundCloud - allow users to upload content. Rights owners can then request that content be removed, or allow it to remain for promotional purposes, or in some cases - as with YouTube - choose to monetise it on the platform. These services rely on the so called 'safe harbours' in US and European law to avoid liability for copyright infringement while hosting unlicensed material users have uploaded. Some question whether the safe harbours were designed for this purpose, and whether the existence of 'opt-out' streaming services of this kind is distorting the wider digital music market.

5. Data
The music industry is now having to process unprecedented amounts of data, as revenues and royalties are increasingly based on consumption rather than sales. The lack of decent copyright ownership data also hinders efficiency, especially on the publishing side. There are almost certainly 'big data' solutions to these problems, the challenge is who should lead this activity, and will labels, publishers and CMOs share the crucial copyright ownership data that is in their control?

6. Collective licensing
The labels license most digital services directly, while the publishers often use their CMOs. For various reasons, both artists and songwriters often prefer money to go through the CMOs rather than their labels and publishers, though there is an argument that this is not always the most efficient way to process revenue and data. Either way, artists and songwriters often feel excluded from the debate over the pros and cons of collective licensing.

7. Adapting to the new business models
One of the biggest challenges for everyone in the music community is simply adapting to a new way of doing business, where sustained listening rather than first week sales matter, and where successful tracks and albums will deliver revenues over a longer period of time, rather than via a short-term spike. Adapting to this new way of doing business is arguably just a fact of life, though some stakeholders may be shielded more than others from any short-term negative impact.

You can get a free copy of 'Dissecting The Digital Dollar' from the MMF website here. The aim of the report is to very much kickstart the conversation, and the MMF will be leading the discussion with artist managers in the UK in the coming months.

Experience Hendrix sues over "stolen" guitar
A guitar shop owner in Tucson, Arizona has found himself at the wrong end of a lawsuit from the Jimi Hendrix Estate. The late musician's family claims that Harvey Moltz of Rainbow Guitars is in possession of an acoustic guitar that was once owned by Hendrix and which was stolen from them.

According to the Arizona Daily Star, Moltz bought the Black Widow guitar last year from someone named Brian Patterson for $80,000. Patterson in turn claims that he bought it from Sheldon Reynolds, former husband of Experience Hendrix CEO and sister of the guitarist Janie Hendrix. Moltz says that he was shown a letter prior to purchasing the guitar that said Janie had given the instrument to Reynolds as a gift during their marriage.

The family deny this, however. They say in their lawsuit that the first they knew of the guitar leaving their possession was when an LA auction house, through which Patterson was trying to sell it, called to check its authenticity. "The guitar is priceless to our family", Janie Hendrix told the newspaper. "It is one of the few guitars that came home after Jimi passed away. We just want our guitar returned safely and back where it belongs".

Moltz now finds himself facing a lawsuit demanding the return of the guitar as well as damages of up to $750,000. All this despite the fact that he "purchased the guitar in good faith from a private seller, without knowledge of competing claims of ownership", said his lawyer Todd Jackson. Moltz "has no interest in acquiring or retaining stolen property", he added.

At this point, Moltz has apparently agreed not to sell the guitar and to allow it to be inspected as necessary while the matter is resolved.

Kygo signs to Sony/ATV
Sony/ATV has signed producer of the moment Kygo, real name Kyrre Gørvell-Dahll, to a worldwide publishing deal.

Sounds like something someone might be thrilled about. And you're not wrong. Look, here's a thrilling statement from Sony/ATV's VP International David Ventura: "We are thrilled to be working with Kygo and Myles who have given us their confidence after months of us working together. I am simply amazed by Myles' drive. It is very inspiring to work with someone like him who surely represents the new generation of managers".

Myles? Who the fuck is Myles, you might be asking. That would be Gørvell-Dahll's manager Myles Shears, who adds: "Kyrre and I are extremely excited to become the latest addition to the Sony/ATV family. We are constantly always looking to be stronger as a team and feel we couldn't have made a better choice. We've already hit the ground on some incredible new projects and can't wait to see what's to come".

Having sold over five million singles in the last year, Gørvell-Dahll is now working on his debut album as Kygo, which is set for release next year.

Three MAMA venues renamed by O2
The first real signs of Live Nation's purchase of MAMA & Company earlier this year have arrived, in the form of the renaming of three of the company's venues. The Forum in London, Manchester's The Ritz, and The Institute in Birmingham will henceforth be known as The O2 Forum Kentish Town, The O2 Ritz Manchester and The O2 Institute Birmingham.

Well, that's what they'll be known as to O2 employees and people who answer the phone at those venues. The rest of us can carry on calling them The Forum, The Ritz and The Institute. Forever and ever, amen.

Live Nation COO Paul Lathm says in a statement: "For the last eight years, our work with O2 has pioneered the way brands work within the music sector. Together, we have provided an extremely valuable proposition to fans of live entertainment, and we look forward to adding these fantastic venues on board to deliver an even greater fan experience".

O2's Consumer Director Nina Bibby adds: "We are delighted to be adding these three iconic venues to the O2 Academy portfolio. With these additions we are giving our customers access to even more great live music 48 hours ahead of general release through [our] Priority Tickets [programme]. Not only this, but once the customer gets inside they will have access to a whole host of Priority benefits to make their experience even more special".

I hear they will be putting music on at these places too.


Live Nation Australia announces wide-ranging tie up with Telstra
More Live Nation-based telephony good times now, and Live Nation Australia has announced one of those "major strategic partnerships" with the country's largest tel co Telstra. The multi-year tie-up "goes beyond the traditional music sponsorship and delivers a programme of activity against an 'always-on' strategic approach", whatever that means.

Mainly that Telstra customers will get priority access to Live Nation tickets, VIP packages, exclusive content, merch and 'money can't buy' experiences. Which might sound like pretty much every other live music sponsorship to you, but you're forgetting the "'always-on' strategic approach".

Says Live Nation Australia CEO Michael Coppel: "We welcome Telstra to our family of brand partners. We only partner with the best brands available and Telstra and its Thanks loyalty programme is undoubtedly the industry leader in Australia when it comes to rewarding customers through music experiences".

New fashion-linked label announces new fashion link
A new label and management company called Feels Music, which was launched in partnership with Metropolis Studios, has announced an alliance with fashion brand John Varvatos which will support a talent scouting initiative.

The new music firm is a spin-off from The Feels, which is a talent discovery app for the fashion industry, so there is an existing link with the fashion business. John Varvatos will support one of those online new talent searches, the winner of which will perform at a showcase event at Metropolis and be styled by the fashion company.

Confirming the alliance, Feels CEO Dawson King told reporters: "To be able to work with a fashion powerhouse such as John Varvatos is a massive opportunity for any act on the Feels Music roster. The showcase at Metropolis is just one of many projects that we are working on with a number of big fashion brands that want to run worldwide campaigns with new artists. Thanks to our established relationships in the fashion industry, Feels Music already has a competitive advantage when it comes to breaking acts, being able to get them great visibility with big name brands across online, TV and radio".

Meanwhile the founder of John Varvatos, so that'll be John Varvatos, added: "We're very excited about our partnership with Feels and the launch of its artists' discovery platform. As the owner of a record label, I understand the challenges that musicians face. The road to discovery can take many twists and turns but the Feels Music app, provides a great alternative".

John Whittingdale says he is a supporter of BBC music
Culture Minister John Whittingdale, while leading the review of the BBC that many fear will result in a major cut-back of its services, nevertheless told an audience of artists and music industry types last night that he is a big supporter of the Corporation's music output. Actually, he would like more of it thank your very much, especially on the telly.

Whittingdale was speaking at UK Music's previously reported #LetItBeeb event in Parliament last night, where artists and reps from across the music industry amassed to call on those reviewing the BBC to ensure its music services remain intact, with UK Music chief Jo Dipple saying that the music business would be "weaker without the BBC" supporting new talent and new music.

According to the BBC, Whittingdale told the event: "Those of you who know me know that I'm a huge fan of music. I regard the BBC's contribution to music in this country as absolutely essential. I want the BBC to go on proving services like Radio 1, Radio 2, Radio 3 - all of which cater for tastes which are not served by the commercial sector".

He went on: "In some ways, actually, my criticism of the BBC is that they don't do enough for music. Radio is very well served but [on] TV, I'd actually like to see a bit more. As long as I am Secretary Of State, I will continue to support the BBC in highlighting the incredible talent that we have in this country. I haven't seen your petition but I think I'd be very willing to sign it".

So that's alright then. Though presumably the music industry will still be watching closely as Whittingdale's review of the Beeb continues.


U2 and Take That hail return of TFI Friday
The return of 'TFI Friday', if nothing else, means a new addition to the scarce collection of slots available for promoting new music on mainstream British TV. So I'm sure everyone out there struggling to be heard will be heartened to know that producers have decided to give plucky upstarts Take That and U2 a chance on the series premiere this Friday.

"It wouldn't be the first episode of 'TFI' without one of the biggest bands in the world, if not the biggest", says presenter Chris Evans. "We're over the moon that we've got U2 on the show. They're coming in specially, flying straight from a show in Antwerp and straight back to Cologne, making the time just for us, and we certainly plan to make the most of it".

Punk duo Slaves will also appear, so my opening was slightly facetious. Oh well. The series will run for ten weeks, after which its future is uncertain. Evans has said that his contract to present the next series of 'Top Gear' for the BBC prevents him from returning to the Channel 4 show again.

  Approved: La Vie C'est Facile
Influenced by London's grime and bass music scene, Swiss duo La Vie C'est Facile released their debut EP, 'Fun Zone', through Creaked Records earlier this month. Filtered through following these scenes at a distance, they create dark, minimal electronic tracks that swallow you as you listen.

Commenting on their creative process in a recent chat with labelmate Grace Core, Jo of the duo said: "For many reasons it's always a challenge to create a sound. To us, it's vital to have strong artistic direction. A coherent link between tracks we decide to release. It's sometimes complicated to keep this objective in mind during a long studio session. We often come to finished tracks which have a different style that what we had in mind at the beginning. Then we don't really want to present that to the public, even if we like it. We can start ten projects every day, but we will be happy to have a final one at the end of the month".

Listen to the EP's opening track 'Racer Z' here.
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Sony Music, Mollie King, Ed Sheeran, more

Other notable announcements and developments today...

• Taponeswa Mavunga has joined Sony's Columbia label in the UK as Head Of Publicity, while Frazer Lawton also joins the division as Senior Press Office. Columbia's Director Of Press And Promotions Peter Black is "delighted" about the appointments. Meanwhile Columbia UK co-President Mark Terry is "delighted" about the appointments.

• Hey, you know how utterly fucking awful waking up in a tent at a sunny festival is? Some utter genius has come up with a new tent design that will combat that. Praise be to the tent gods! Let us worship at the altar of Kickstarter.

• The Saturdays' Mollie King has revealed that she has signed a solo deal with Universal/Island. Well, either that or she is predicting that she will become excited about the Island logo next year. Could be either, really.

• Having become the first track ever to spend a full year in the UK top 40, Ed Sheeran's 'Thinking Out Loud' has now perhaps unsurprisingly become the first to get 500 million streams on Spotify. Here's a map to show where he's being listened to.

• Giorgio Moroder and Britney Spears have recorded a cover of Suzanne Vega's 'Tom's Diner'.

• Rapper Le1f will release his debut album, 'Riot Boi', through Terrible Records on 13 Nov. Listen to new track 'Rage' here now.

• Fufanu will release their debut album, 'Few More Days To Go', through One Little Indian on 27 Nov. They'll be touring the UK later this month, finishing with a show at The Lexington in London on 30 Oct. Listen to 'You Collection' now, you idiot.

• Already out on a tour of the UK right now, Years & Years have announced new dates for next March and April, finishing with a show at Wembley Arena on 8 Apr.

• Shopping will tour the UK this very December, kicking off at the 100 Club in London on 8 Dec.

Wiz Khalifa loves nature (ie pissing on walls)
Wiz Khalifa was cautioned by police for urinating outside a bar in Pittsburgh, Pennsylvania in the early hours of Sunday morning. Officers stopped short of an arrest, according to TMZ.

Prior to this, on Friday the rapper posted a photograph of himself urinating against a wall, informing fans, "I just love nature". And who could argue with that? I assume that's why he wasn't arrested. A love of nature is a love of nature, after all. If only Anthony Costa had thought to use that defence.

Wiz Khalifa will be urinating on the pubs and clubs of Great Britain later this week, on a brief arena tour with A$AP Rocky. That kicks off at Birmingham's Gentin Arena this Friday, before hitting the O2 Arena in London on Saturday, and finishing at the Manchester Arena on Monday.

ANDY MALT | Editor
Andy heads up the team, overseeing the CMU bulletin and website, coordinating features and interviews, reporting on artist and business stories, and contributing to the CMU Approved column.
Email andy@unlimitedmedia.co.uk (except press releases, see below)
CHRIS COOKE | MD & Business Editor
Chris provides music business coverage and analysis. Chris also leads the CMU Insights training and consultancy business and education programme CMU:DIY, and heads up CMU publisher 3CM UnLimited.
Email chris@unlimitedmedia.co.uk (except press releases, see below)
SAM TAYLOR | Commercial Manager & Insights Associate
Sam oversees the commercial side of the CMU media, leading on sales and sponsorship, plus helps manage and deliver the CMU Insights training courses and consultancy services.
Email sam@unlimitedmedia.co.uk or call 020 7099 9060
CARO MOSES | Co-Publisher
Caro helps oversee the CMU media, while as a Director of 3CM UnLimited she heads up the company's other two titles ThisWeek London and ThreeWeeks Edinburgh, and supports other parts of the business.
Email caro@unlimitedmedia.co.uk
Send ALL press releases to musicnews@unlimitedmedia.co.uk - this is checked daily by the whole editorial team meaning your release will definitely get to the right person.

For details of the training and consultancy services offered by CMU Insights click here - Andy and Chris are also available to provide music business comment, just email them direct.

To promote your company or advertise jobs or services to the entire UK music industry via the CMU bulletin or website contact Sam on 020 7099 9060 or email ads@unlimitedmedia.co.uk
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