FRIDAY 26 FEBRUARY 2016
TODAY'S TOP STORY: Good news for fans of Samsung buying Tidal rumours. There's a new Samsung buying Tidal rumour! These are glorious times in which we live. The New York Post cites several sources that say that the tech giant is back in talks with Jay-Z and Roc Nation about taking ownership of the streaming music platform. Samsung has been tipped as a possible buyer for Tidal before. The streaming... [READ MORE]
 
TODAY'S APPROVED: Audiofly's Flying Circus rolls into town on its tenth anniversary tour, which has already made various stops around Europe and the Middle East. The celebratory show also continues the final year festivities over at The Coronet. Headlining tonight will be Carl Craig. Nuff said really. I've seen the Detroit dude play at a fair few venues large and small over the years... [READ MORE]
 
BEEF OF THE WEEK: It was the BRIT Awards on Wednesday night. I'm sure you noticed. Lots of big American stars turned up to find out who the most popular British artists of the moment were. 95% of the people in the room were practising their polite smile in case they were later asked what they thought of the promised Bowie tribute (thankfully that all turned out alright in the end and no polite smiles... [READ MORE]
 
CMU PODCAST: CMU's Andy Malt and Chris Cooke review the week in music and the music business, including the latest developments in the Kesha v Dr Luke legal battle, new stats on piracy in the US that show the shift from file-sharing to stream-ripping, Attitude Is Everything's State Of Access report and latest Eurovision news. The CMU Podcast is sponsored by 7digital... [LISTEN HERE]
TOP STORIES Samsung considering Tidal acquisition again, apparently
JUMP | ONLINE
LEGAL US Copyright Office says US law has a making available right, even though it doesn't say so
Fake sheik denies perverting course of justice in Tulisa Contostavlos case
JUMP | ONLINE
LABELS & PUBLISHERS Crush Music launches new label with Warner
JUMP | ONLINE
LIVE BUSINESS Live Nation boasts of "record year" in 2015
JUMP | ONLINE
MARKETING & PR Steve Redmond to lead global communications at BMG
JUMP | ONLINE
MEDIA BBC confirms it sacked Tony Blackburn for allegedly not fully co-operating with Jimmy Savile investigation
JUMP | ONLINE
ARTIST NEWS Lady Gaga speaks out for Kesha, while Sony says it's "doing everything it can"
JUMP | ONLINE
RELEASES New Brian Eno album to be launched with series of sound installations
JUMP | ONLINE
AND FINALLY... CMU Beef Of The Week #295: Harry Styles v The BRITs
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.
 
 
SUPAPASS - DIGITAL MARKETING MANAGER (NORWICH OR LONDON)
SupaPass is looking for an ambitious Digital Marketing Manager to drive growth marketing and conversion rate optimisation for our fast growing startup. We’re a dynamic passionate team, and we're looking for someone who has an intense passion for music and tech and is looking to get involved in an early stage startup to grow the business.

For more information including a full job description and how to apply click here.
   
ROCKET PR - NATIONAL RADIO PLUGGER (LONDON)
Rocket PR have a fantastic opportunity for a national radio plugger to join their successful team. Rocket is one of the UK's leading radio and TV promotions companies, working with top independent labels and exciting new and established artists.

For more information including a full job description and how to apply click here.
   
AWAL - SENIOR CLIENT MANAGER (LONDON)
Joining AWAL, one of the world leading rights management and music services companies, this role will be a main point of contact for our artist and label clients and responsible for the co-ordination of releases, client support and product development.

For more information including a full job description and how to apply click here.
   
AWAL - CLIENT MANAGER (LONDON)
Joining AWAL, one of the world leading rights management and music services companies, this role will be the point of contact for our clients and will support the co-ordination of releases.

For more information including a full job description and how to apply click here.
   
MUSIC GLUE - DIGITAL MARKETING MANAGER (LONDON)
We're looking for an experienced Digital Marketing Manager with a passion for music and who is inspired by the opportunity to join a dynamic independent music-tech company. You will be responsible for driving international engagement across all of our digital marketing platforms.

For more information including a full job description and how to apply click here.
   
MUSIC CONCIERGE - MUSIC TEAM ASSISTANT (HERTFORD)
We are looking for a Music Team Assistant to join our expanding creative team. This is an excellent starter role giving the opportunity to work in the music industry with an exciting growing company.

For more information including a full job description and how to apply click here.
   
KOBALT LABEL SERVICES - SENIOR PRODUCT MANAGER (LONDON)
Joining Kobalt Label Services this Senior Product Manager will be instrumental in the conception and implementation of creative marketing campaigns for KLS releases in the UK.

For more information including a full job description and how to apply click here.
   
AWAL - DIGITAL MARKETING MANAGER (LONDON)
AWAL is one of the world leading rights management and music services companies offering a transparent, straight to market solution for artists and labels. As part of our growth we are seeking a Digital Marketing Manager to provide digital marketing, technical insight and creative inspiration to AWAL, its artist and label clients and releases.

For more information including a full job description and how to apply click here.
   
CMS MUSIC MEDIA - MEDIA PLANNER/BUYER (LONDON)
Rare opportunity to join a fast paced entertainment advertising agency working across an array of clients labels, distributors, live promoters and festivals. CMS is a leading specialist arts and entertainment media agency offering marketing and advertising services to the music industry.

For more information including a full job description and how to apply click here.
   
BOILER ROOM - LEAD BOOKER (LONDON)
We are looking for a full-time Lead Booker to join the music team at Boiler Room. The successful applicant should enjoy working in a fast-paced, busy and vibrant music company exploring underground music worldwide.

For more information including a full job description and how to apply click here.
   
JAZZ CAFE - SENIOR LIVE BOOKINGS MANAGER (LONDON)
As a member of our live events team, you will be responsible for the booking, programming and promotion of our live music calendar, working alongside a small team of very passionate people. You will have experience at booking and contracting live events and will have a strong network of contacts in the music industry.

For more information including a full job description and how to apply click here.
   
AEG LIVE - SENIOR COMMUNICATIONS MANAGER (LONDON)
We are recruiting for a Senior Communications Manager to join the Communications team, based at The O2, to cover a period of maternity leave. You will be responsible for implementing our communications strategies both internally and externally and measuring their success.

For more information including a full job description and how to apply click here.
   
BELIEVE DIGITAL - UK SALES & LABEL MANAGER (LONDON)
Believe Digital is looking for a Sales & Label Manager to join its label management team in the UK. A deep knowledge of the independent music industry and key labels, as well as the experience and knowledge to sign content, is essential as Believe continues to drive its label acquisition strategy in the UK and internationally.

For more information including a full job description and how to apply click here.
   
7DIGITAL - BUSINESS DEVELOPMENT MANAGER (LONDON)
Would you love to help transform the way the world listens to music? In this role you’ll have the opportunity to work with companies all over the world, breaking new ground in an industry ripe with growth and innovation.

For more information including a full job description and how to apply click here.
   
END OF THE ROAD - FESTIVAL CO-ORDINATOR (LONDON)
End Of The Road is seeking a Festival Co-ordinator to train under the outgoing Head of Operations. The primary function of this role is artist advancing and contracting, but duties extend to other areas within the festival.

For more information including a full job description and how to apply click here.
   
THE ORCHARD - VIDEO SERVICES ACCOUNT MANAGER (LONDON)
We’re looking for a smart, creative and analytical forward thinker to fill a new position within our European Video Services team as Account Manager. Based in London, UK, the post-holder will help lead and develop our European video service business, executing on a value proposition that drives client satisfaction, engagement and revenue.

For more information including a full job description and how to apply click here.
   
TROXY - BOX OFFICE MANAGER (LONDON)
This is a fantastic role for an experienced Box Office Manager to join the team at Troxy London, a unique venue in East London. We’re looking for someone with Box Office experience, and you will come from an environment where the customer experience is key.

For more information including a full job description and how to apply click here.
   
WALLACE PRODUCTIONS - SENIOR MANAGEMENT ASSISTANT (LONDON)
Wallace Productions require an experienced day-to-day Artist Manager / Senior Management Assistant to join the management team. This is a wonderful opportunity for someone with 3-4 years’ experience wishing to grow and develop in a busy and internationally focused role.

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
 
 
A guide to upcoming events from and involving CMU, including seminars, masterclasses and conference sessions from CMU Insights and workshops from CMU:DIY, plus other events where CMU journalists are speaking or moderating.
 
29 Feb 2016 CMU Insights Seminar: Building A Fanbase - Music Media
CLICK FOR INFO
6 Mar 2016 CMU Insights Seminar: Building A Fan-Orientated Business
CLICK FOR INFO
16 Mar 2016 CMU:DIY x Urban Development Industry Takeover Seminar
CLICK FOR INFO
17 Mar 2016 CMU Insights @ Convergence 2016
CLICK FOR INFO
13 Apr 2016 CMU:DIY x Urban Development Industry Takeover Seminar
CLICK FOR INFO
14 Apr 2016 CMU Insights @ Music 4.5: Playlists 2
CLICK FOR INFO
18 Apr 2016 CMU Insights Masterclass: Music Business Explained - For Brands
CLICK FOR INFO
6 May 2016 CMU Insights @ Canadian Music Week 2016
CLICK FOR INFO
19-20 May 2016 CMU Insights @ The Great Escape 2016
CLICK FOR INFO
 

Samsung considering Tidal acquisition again, apparently
Good news for fans of Samsung buying Tidal rumours. There's a new Samsung buying Tidal rumour! These are glorious times in which we live. The New York Post cites several sources that say that the tech giant is back in talks with Jay-Z and Roc Nation about taking ownership of the streaming music platform.

Samsung has been tipped as a possible buyer for Tidal before. The streaming music firm, which began life as Scandinavian start-up WiMP, was bought by Jay-Z a year ago, of course, and then relaunched via an all-star press event that all PR students will now, and for the foreseeable future, study as part of a class called "how not to relaunch your product".

Nevertheless, the service now boasts over a million subscribers and continues to pursue the 'artist exclusives' strategy it set out after presenting its long line of celebrity shareholders last March (or "cringe of popstars", to use the technical term).

Though, of course, that still puts Tidal a long way behind its key competitors like Apple Music and Spotify, and in the streaming music business deep pockets are more important than celebrity friends. While Jay-Z may have deep pockets for an individual, they are not deep when compared to those of Apple Inc or Spotify's venture capital backers, who all wear very big coats indeed.

When Jay-Z first bought Tidal, it was thought phone firm Sprint may become a corporate backer, though that wasn't to be. Samsung was then tipped as a possible investor, mainly because of the existing brand partnership relationship that existed between the consumer electronics giant and both Jay-Z and his Roc Nation business.

The Post reckons that both Google and Spotify have also courted Tidal in the last year, the latter possibly proposing more of partnership along the lines of "Tidal powered by Spotify", presumably where the latter could provide the core streaming service, with the former layering on the exclusives.

But, say those pesky sources, it's Samsung which is again talking to Mr Z and the often changing Team Tidal. "Samsung is re-engaging", the source tells the Post. "They are working on something really big. But they're keeping it very quiet in case it leaks".

Other sources reckon that Tidal could do with any Samsung deal coming along sooner rather than later, with the high costs of running a loss-leading streaming platform starting to put a strain on the business and its music industry owners. Better to have a big tech industry player to cover those ongoing losses, and allow the music types to worry more about differentiating the product and signing up fans, rather than paying the bills.

Neither Tidal or Samsung have as yet commented on this latest speculation.

US Copyright Office says US law has a making available right, even though it doesn't say so
So, making available right news everybody. Make it! Make it available! Right! And people say copyright law is a dry topic. The US Copyright Office has published a report saying that the so called making available right does exist in America, even though American copyright law makes no mention of it, a fact that has resulted in some confusion in the courts.

'Making available' is one of the 'controls' that comes with a copyright. The copyright owner has the exclusive right to 'make available' the content they own, in the same way they have the exclusive right to reproduce, distribute, rent out, adapt, perform or communicate it. Making available, in case you wondered, relates to when a bit of content is made available to the public through electronic channels in such a way that the user "may access it from a place and at a time individually chosen by them".

The making available right was introduced through global copyright treaties in the 1990s, mainly to ensure that then emerging digital music platforms - the focus was download platforms at the time - were definitely subject to copyright restrictions. Signatories to the WIPO treaties then implemented the new copyright control in their own way at a national level. Some countries, like this most United Kingdom, specifically added the new control to copyright legislation.

In the UK, making available was added as a sub-set of the existing communication control that covered conventional broadcast. Though whereas, with sound recordings, 'performer equitable remuneration' is due on revenue stemming from the conventional communication control - meaning recording artists automatically receive 50% of any income - UK law says that does not apply to making available. Something that has proven controversial in the artist community of late.

Meanwhile, some other countries decided that the making available right was already covered by existing copyright controls, so the law didn't need to be specifically amended. And that is the case in the US, where you will find no mention of 'making available' - or for that matter 'communication to the public' - in current copyright statute.

But, says the US Copyright Office in its new report, that doesn't mean there is no making available right in America, even if some courts have more or less said that their isn't. Because the US is a signatory of those WIPO treaties, see?

Said the Office this week: "During the past two decades, US government officials have uniformly maintained that the Copyright Act's exclusive rights, taken together, cover the full range of conduct encompassed by the making available right, meaning that such conduct will implicate and be governed by one or more of the [existing] exclusive rights, including, for example, the distribution, public display, and public performance rights".

It goes on: "Subsequent Congresses have reaffirmed this conclusion through their approval, between 2003 and 2011, of a dozen free trade agreements with foreign nations obliging the United States to provide a making available right, determining in each case that adoption would not require changes to US copyright law".

The Office then concludes that: "Consistent with its prior analyses and testimony, as well as the views of Congress, multiple administrations, appellate courts, and leading academic authorities, the Copyright Office concludes that the exclusive rights of copyright owners set forth [in US copyright law] collectively meet and adequately provide the substance of the making available right".

It adds that, with downloads, making available is part of the distribution control, while with streams, it's likely part of the public performance control (which already covers broadcast in the US in the absence of a specific communication control).

The Copyright Office concedes that the American courts have not been as consistent on the existence of the making available right in the US as Congress has (or at least, as it claims Congress has). Nevertheless, the Office says it doesn't reckon that copyright law needs to be amended to specifically include a making available right, or a communication right that would encompass making available, UK style.

Though, it says, Congress should "continue to monitor the opinions of both district and appellate courts regarding the scope and application of the making available right in the United States". But the Office hopes that "the publication of this report and the analyses contained herein should prove helpful to both courts and practitioners looking for guidance in this area in the future".

If the courts continue to wobble on 'making available' though, then maybe a copyright law rewrite will be necessary in the future and, if so, the Copyright Office will be ready and waiting to assist, says it.

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

Fake sheik denies perverting course of justice in Tulisa Contostavlos case
Former Sun and News Of The World journalist Mazher Mahmood, aka the "fake sheikh", has denied conspiracy to pervert the course of justice in relation to the legal action that stemmed from a sting he orchestrated for the Sun On Sunday targeting Tulisa Contostavlos.

As previously reported, Contostavlos was put on trial accused of doing a deal to supply cocaine during the sting operation led by Mahmood. However, the trial collapsed when the judge presiding accused the journalist, who had given evidence against the one time N-Dubz member and 'X-Factor' judge, of "serious misconduct to the point that the integrity of the court would be compromised by allowing the trial to go ahead".

It was claimed that there were inconsistencies in statements Mahmood had made to the court between a pre-trial hearing and the main trial. These related specifically to statements made by Contostavlos and overheard by the journalist's driver Alan Smith, which led the judge to believe that Mahmood had been "manipulating the evidence".

Which means it's now Mahmood who is facing trial. He has been charged with perverting the course of justice, specifically by conspiring with Smith that he would change a draft statement to the police.

Mahmood and Smith attended a plea hearing in relation to the case this week, and formally denied the perverting the course of justice charge. The judge hearing the case then set 19 Sep as a trial date, with a pre-trial review due to take place on 10 Jun.

Contostavlos has repeatedly hit out at Mahmood, and the tactics he employed to get a story, accusing the journalist of entrapment. The fake sheikh told Contostavlos that he could get her a high profile film project, and then exploited the resulting relationship to try to persuade her to get him illegal drugs, all in a bid to run a "popstar deals cocaine" story.

Crush Music launches new label with Warner
New York-based management company Crush Music has announced a new joint venture with Warner Music to create a Crush record label. The firm already has a music publishing side to its business.

The Crush Music label will work with Warner subsidiaries Atlantic and Warner Bros on its releases, with the first - the latest album from Crush clients Weezer - being distributed via the former.

Confirming the new venture, Bob McLynn, who co-founded Crush Music with Jonathan Daniel, told reporters: "We've had a great relationship with Atlantic and the entire global Warner Music team over the years, developing and breaking artists such as Panic! At The Disco, Travie McCoy/Gym Class Heroes, and more. So when it was time to find a partner for our new label venture, we knew WMG would be a natural fit".

Meanwhile Warner Bros CEO Cameron Strang said: "Crush has an impressive ability to attract and develop unique talent. This new label will make an excellent addition to the family, and we are all looking forward to working together to nurture exciting artists and release amazing music".

But it was Atlantic bosses Julie Greenwald and Craig Kallman who were THRILLED by it all. They warbled as one: "Our association with Jonathan, Bob, and their outstanding team goes back over a decade, and we're THRILLED to take our partnership to a new level with the formation of the Crush Music label. And to be able to launch the label with a new album from Weezer is simply fantastic".

Live Nation boasts of "record year" in 2015
Live music giant Live Nation was busy bragging about how 2015 was a "record year" yesterday, reporting that "revenue, adjusted operating income and free cash flow all grew 11% for the year, at constant currency, and we delivered record ticket volume of 530 million". Revenues were up to $7.6 billion and adjusted operating income stood at $616 million.

Live Nation's core concert promotions and ticketing businesses helped contribute to the record performance, though brand money was a particularly strong growth revenue stream in 2015. The live firm says its "high-margin" advertising business - selling ad space at Live Nation venues and events, and on its various websites - grew 17%, while "global sponsor base" was up 20% to 900 brands. Hurrah for all those "official lubricants" and "superannuation partners".

Said Live Nation chief Michael Rapino: "Live Nation continues to be the artist's number one choice for touring because we have an unparalleled live platform to service their concerts and drive ticket sales to their fans. Combining a growing global industry with Live Nation's ability to grow its leadership position, we expect to continue driving long-term value for our shareholders".

Steve Redmond to lead global communications at BMG
BMG has announced the appointment of Steve Redmond to the role of SVP Global Corporate Communications, overseeing all areas of internal and external comms for the music rights firm, and reporting directly into CEO Hartwig Masuch.

A former BPI exec and prior to that Music Week chief (though we've forgiven him for that), Redmond has worked in a communications consultancy role for various music companies and organisations since 2007 including, since 2012, BMG itself. He will continue to advise a small number of clients outside BMG alongside his new role, in particular the Entertainment Retailers Association.

Announcing the new hire, Masuch said: "Whether as a strategist, analyst, commentator or media advisor, Steve Redmond has a unique ability to cut to the heart of an issue, and then make things happen. He brings a vital perspective to our management team".

Confirming his tip top quality PR credentials by being "delighted" rather than "THRILLED" about his new job, Redmond himself added: "BMG is an extraordinary attempt to create a new kind of music company. Everything I have seen about this company is brave and ambitious and committed to doing the right thing. I am delighted to join them in their quest to offer artists and songwriters a genuine alternative".

BBC confirms it sacked Tony Blackburn for allegedly not fully co-operating with Jimmy Savile investigation
BBC boss Tony Hall has confirmed that the Corporation has "parted company" with DJ Tony Blackburn in relation to the evidence the presenter gave to the organisation's Jimmy Savile review, the results of which were published yesterday.

Judge Janet Smith was hired to review the extent to which Savile committed sexual assaults and abuse on BBC premises during his long career with the broadcaster, and to assess how that was allowed to happen.

As expected, her report was pretty damning of the Corporation, concluding that while senior management were not aware of Savile's criminal activities, which were most prevalent in the 1970s, the culture of the organisation meant that more junior staff with concerns about the star either didn't feel they could make formal complaints, or if they did, those complaints were rarely passed up the hierarchy.

Smith's report also raised concerns about the BBC's corporate culture today, and whether staff would feel empowered to raise issues and complaints with senior managers, especially in relation to "untouchable" on-screen talent.

Blackburn announced that he had been sacked by the BBC ahead of the publication of Smith's report yesterday, saying that he had been axed simply because he disagreed with the Beeb's official line on two incidents from the 1970s, in particular allegations that he had abused a teenage girl who subsequently took her own life. The DJ said that, although the allegations against him were seemingly retracted, Corporation records say he was nevertheless questioned about them at the time by then BBC exec Bill Cotton Jr.

Blackburn denies any such meeting took place. He added in his lengthy statement on Wednesday night: "Dame Janet's report makes no mention that I was guilty 45 years ago of any misconduct whatsoever with this girl. Nor did a coroner's inquest or a subsequent police inquiry into her death. The BBC have made clear that they are not terminating my relationship with them because of any misconduct. They are destroying my career and reputation because my version of events does not tally with theirs".

However, Hall said yesterday that it wasn't simply that Blackburn disagreed with official BBC records that resulted in his axing, but that the DJ didn't participate in Smith's review as had been expected of existing staffers with long careers at the Corporation.

Hall said: "This is one of the most important enquires in the BBC's history and that has put even greater responsibility on everyone who has taken part in the enquiry to co-operate fully and to be open. Dame Janet has rejected [Blackburn's] evidence and has explained why. I have to take that extremely seriously".

He went on: "My interpretation of that is that Tony fell short of a standards of evidence that such an enquiry demanded. I am making no judgement or accusations about events or behaviours about what happened in the past but simply about what he has done now and what he has done in front of this really crucial enquiry".

Blackburn says he plans to sue the BBC over the axing of his shows on Radio 2 and BBC London. Though the presenter won't be completely off the air in the meantime, because he also hosts shows on other non-BBC radio stations. One of those, KMFM, confirmed yesterday that the DJ will still appear on his Sunday afternoon show on its network. "He is a great asset, a fantastic broadcaster and someone we are proud to work with", a spokesperson told Radio Today.

  Vigsy's Club Tip: Flying Circus Ten Year Anniversary Tour at The Coronet
Audiofly's Flying Circus rolls into town on its tenth anniversary tour, which has already made various stops around Europe and the Middle East. The celebratory show also continues the final year festivities over at The Coronet.

Headlining tonight will be Carl Craig. Nuff said really. I've seen the Detroit dude play at a fair few venues large and small over the years and he's never failed to impress with his infectious sets and exuberant interpretation of what began as Detroit techno for him in 1989.

Cassy and Audiofly provide support, but are very much headliner acts in their own right.

Friday 26 Feb, The Coronet, 28 New Kent Rd, Elephant & Castle, London, SE1 6TJ, 10.30pm-7am, £17-£30. More info here.
CLICK HERE to read and share online
 

Lady Gaga speaks out for Kesha, while Sony says it's "doing everything it can"
Lady Gaga is the latest high profile artist to speak out in support of Kesha, saying that "no one needs to validate" her fellow singer in a post on Instagram.

Following on from a tweet offering more general support earlier this week, Gaga spoke in more detail about Kesha's much previously reported legal battle with producer Dr Luke and his Sony-owned record label Kemosabe. Kesha accuses Luke of "mental manipulation, emotional abuse and sexual assault". Luke denies the allegations.

"The very reason women don't speak up for years is the fear that no one will believe them, or their abuser has threatened their life or the life of their loved ones/livelihood in order to keep their victim quiet and under their control", wrote Gaga. "What happened to Kesha has happened to many female artists, including myself, and it will affect her for the rest of her life".

She continued: "No one needs to validate Kesha. Why is the victim always the 'liar'? Why do we let people in a position of power get away with behaving inhumanely? These guys hide behind the legal system and it's their litigious behaviour that is precisely what they use to rape these girls. 'Give me what I want or else I will come after you'. And they have all the money and resources to do it".

Gaga was previously pulled into this story in December 2014, after she told Howard Stern in an interview that she had been raped when she was nineteen. She did not name the perpetrator, but Kesha's lawyer Mark Geragos suggested that it was Dr Luke. Gaga denied that this was the case, and the producer then sued the lawyer for defamation.

A week ago, of course, Kesha was denied a temporary injunction to allow her to break the terms of her contract with Kemosabe in order to record with another producer and label outside the Sony empire, while the legal battle with Luke continues to slowly go through the motions. The request was denied, the judge arguing that it would set a dangerous precedent in New York State contract law, and also that Luke and Sony Music had already agreed that the singer could record with another producer on another of the major's labels.

The problem with that proposal, Geragos argues, is that there is no certainty that Sony would put any effort into promoting a new Kesha record, because the label, he says, is siding with Dr Luke and therefore does not have her best interests at heart.

A major issue in all of this is that Kesha's record deal is not with Sony direct, rather it all funnels through another of Dr Luke's companies, Kasz Money. Those agreements mean that, even under the proposal put forward to allow the singer to continue working on new music elsewhere in the Sony group, Dr Luke would still be able to choose the producer she worked with in his place, and it would be almost impossible to stop the man she accuses of raping her from profiting from her work.

Outlining some of those complications in a statement yesterday, Sony Music's attorney Scott A Edelman told the New York Times: "Sony has made it possible for Kesha to record without any connection, involvement or interaction with Luke whatsoever, but Sony is not in a position to terminate the contractual relationship between Luke and Kesha. Sony is doing everything it can to support the artist in these circumstances, but is legally unable to terminate the contract to which it is not a party".

New Brian Eno album to be launched with series of sound installations
Brian Eno has announced that he will release a new solo album, 'The Ship', through Warp on 29 Apr.

"On a musical level, I wanted to make a record of songs that didn't rely on the normal underpinnings of rhythmic structure and chord progressions but which allowed voices to exist in their own space and time, like events in a landscape", says Eno of the record. "I wanted to place sonic events in a free, open space".

He continues: "One of the starting points was my fascination with the First World War, that extraordinary trans-cultural madness that arose out of a clash of hubris between empires. It followed immediately after the sinking of the Titanic, which to me is its analogue ... I was thinking of those vast dun Belgian fields where the First World War was agonisingly ground out; and the vast deep ocean where the Titanic sank; and how little difference all that human hope and disappointment made to it. They persist and we pass in a cloud of chatter".

The album will be split into two halves, starting with 21 minute piece 'The Ship'. Following it, 'Fickle Sun' is split into three movements, including a cover of Lou Reed's 'I'm Set Free'. And to coincide with the release, a series of sound installations will be displayed around the world

"This album is a succession of interleaved stories", concludes Eno. "Some of them I know, some of them I'm discovering now in the making of them".

CMU Beef Of The Week #295: Harry Styles v The BRITs
It was the BRIT Awards on Wednesday night. I'm sure you noticed.

Lots of big American stars turned up to find out who the most popular British artists of the moment were. 95% of the people in the room were practising their polite smile in case they were later asked what they thought of the promised Bowie tribute (thankfully that all turned out alright in the end and no polite smiles were required). And every single winner, besides Best International Female Björk, was there to pick up their prize.

I say everyone. One Direction were certainly represented. But only two of them were actually there. What seemed like a perfect opportunity to show fans that the 'temporary hiatus' is not actually a 'total and final split' was dashed upon the rocks. Poor Louis Tomlinson and Liam Payne were left to both present an award and then accept one over the sound of an arena full of people whispering, "But where are the famous one and the small one?"

The small one - Niall Horan, you may call him - was apparently on holiday in Thailand. Fair enough. The date of this year's BRIT Awards was only announced last September, and I'm sure Niall is a man who likes to book his trips very far in advance. And you can't just go cancelling a holiday so that you can hang out at an awards ceremony.

But what of Harry Styles? What's even the point of any of them turning up if Harry's not there to look all famous and long-haired? What was his amazing excuse? All we know for sure is that, the day before the big BRITs bash, he was eating a disappointing buffet in an undisclosed location.

A source told The Sun ahead of the ceremony that "Harry has shown no interest in attending". So at least we know that Styles is a man who favours a disappointing buffet over a slap up meal with some people he is definitely still friends with.

I wonder whether he knew that he and his 'friends' would be denied the Best British Group prize, for which 1D were nominated, meaning he'd have to look happy for those Coldplay guys, who always show up when there's a free feed? Or perhaps he wasn't ready for a big reunion on stage with his bandmates if they did get that award.

They didn't, and Coldplay did, of course. Which left One Direction with only their nomination for the public voted Best Video prize. If Styles was pretty confident that his band wouldn't get the British Group trophy, then you can see why he might not be so fussed about picking up the gong that One Direction always wins regardless of the quality of their audio-visual work, because of the fan voting thing. He surely knows it's the one award of the night where everyone watching realises what's happening and uses it as an opportunity for a quick toilet break.

I mean, imagine being Harry Styles. Imagine having to get up and accept that nonsense prize again and pretend that you care. Even Liam didn't seem particularly committed to the customary "this proves we have the best fans in the world" line this year.

And whereas at their height, 1D had an award made up especially for them, to celebrate their global success, just in case anyone had missed it, this time BRITs bosses [a] gave that prize to Adele and [b] refused to add a Best Hiatus prize for Styles et al to receive. I mean, what does it say about Harry Styles' status in the British music industry if they won't even make up an award to get him to turn up?

That disappointing buffet is sounding more appetising by the minute.

 
ANDY MALT | Editor
Andy heads up the team, overseeing the CMU bulletins 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, and advising on CMU Insights training courses and events.
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
© UnLimited Media, a division of 3CM Enterprises Ltd

CMU, UnLimited Media, Kemp House, 152 City Road, London EC1V 2NX
t: 020 7099 9050 (editorial) 020 7099 9060 (sales)

publishing@unlimitedmedia.co.uk | complaints@unlimitedmedia.co.uk