TUESDAY 1 MARCH 2016
TODAY'S TOP STORY: Good news for Tidal, it's finally up there with the big guys in streaming. What a glorious day this truly is. Yes, Jay-Z's Tidal has finally secured its first multi-million dollar mechanical rights lawsuit. Roll on world domination. Tidal is being sued by musician John Emanuele of US duo The American Dollar and Mesh Music, a music publisher allied with the outfit. They claim that the... [READ MORE]
 
TODAY'S APPROVED: While this newly posted video from Dcnxtr will tell you a lot of things about the duo, it still leaves a certain amount of detective work to be done. Performing a version of their single 'Beautiful Moment' in a noisy alleyway in Bangkok, the song is stripped back as lo-fi as it'll go. The original version of the track, released two years ago, reveals the duo's... [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 and how it is growing, Attitude Is Everything's recommendations for venues and festivals in its State Of Access report and latest Eurovision news. The CMU Podcast is sponsored by 7digital... [LISTEN HERE]
TOP STORIES Now Tidal is sued over US mechanical royalties
JUMP | ONLINE
LABELS & PUBLISHERS Universal Music owner trying to get back into gaming
Imagem allies with Chinese distributor, as new online content rules loom in China
JUMP | ONLINE
LIVE BUSINESS Questions over upcoming ATP festivals as Pontins says they are cancelled
JUMP | ONLINE
DIGITAL & D2F SERVICES YouTube announces team to improve Content ID and the video takedown process
JUMP | ONLINE
MEDIA UTV rebrands at the Wireless Group
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RELEASES Jake Bugg announces lonely new album, tour of London
Long Blondes' Kate Jackson announces debut solo album
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ONE LINERS KT Tunstall, DJ Khaled, PRS For Music, more
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AND FINALLY... Sam Smith responds to Oscar speech critics
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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.
 
 
AUDIO NETWORK - MIX ENGINEER (LONDON)
Audio Network is looking for an audio professional with experience in mixing and mastering music in a wide variety of styles to the highest level. The company has an especially strong reputation for its orchestral and live recordings which are produced at Air and Abbey Road Studios and with composers and artists from around the world.

For more information including a full job description and how to apply click here.
   
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.
 
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
 

Now Tidal is sued over US mechanical royalties
Good news for Tidal, it's finally up there with the big guys in streaming. What a glorious day this truly is. Yes, Jay-Z's Tidal has finally secured its first multi-million dollar mechanical rights lawsuit. Roll on world domination.

Tidal is being sued by musician John Emanuele of US duo The American Dollar and Mesh Music, a music publisher allied with the outfit. They claim that the streaming service - despite bigging up its artist-friendly "we pay more" credentials after Jay-Z's acquisition last year - has failed to pay all the royalties due on the group's music.

The dispute centres on the band's publishing rights, they having supplied the recordings themselves via distributor Tunecore. The lawsuit alleges that Tidal has failed to pay royalties due to Emanuele for the exploitation of his songs on the streaming platform, that it underpaid royalties due to Mesh Music, and that it failed to issue notices of intent regarding the duo's work, as required when services plan to utilise the compulsory licence that applies to the mechanical rights in songs in the US.

There are many parallels between Emanuele's lawsuit against Tidal and the two legal actions recently launched in the US against Spotify by musicians David Lowery and Melissa Ferrick. At the heart of the case is the way so called mechanical royalties are paid to songwriters and publishers by those who reproduce or distribute recordings of their songs in America.

Licensees can make use of a compulsory licence in this domain, so don't need specific permission from the songwriters or publishers who control any one song, however they are obliged to file certain paperwork and pay statutory royalties to the rights owner in a timely manner. Not that anyone ever did, in that the processing of mechanical royalties under the compulsory licence has always been at best inefficient.

These inefficiencies have become ever more problematic in the streaming age, because of the number of songs that are made available by the average on-demand streaming service. Whereas with CDs and downloads, the label was usually the licensee, in the streaming domain the digital platform has to sort out all the licensing.

The big issue is the lack of decent music data of course, and in particular a database that tells a streaming service which specific songs are contained in each specific recording. Many in the music rights sector reckon that that's really a failure of the labels and the publishers rather than the digital companies, though ultimately the legal liabilities do lie with the latter.

In addition to the allegations in common with Lowery and Ferrick's litigation about the streaming service's failure to comply with the terms of the compulsory licence, Emanuele's lawsuit also makes allegations about the way Tidal calculates what royalties are due when it does know who to pay. The lawsuit claims that Tidal deliberately calculates royalties in a way that results in lower payments to rights owners.

It then deals with the fact that streaming services usually outsource all their mechanical rights licensing administration to middle-men agencies like the Harry Fox Agency. But Tidal can't just blame HFA, says the legal filing, because "defendants know full well that Harry Fox do not even try to service notices of intent in accordance with [the law] or calculate proper mechanical royalty rates unless expressly directed".

Tidal is having none of this, with the streaming service issuing a blunt response to the legal action, seemingly annoyed that the litigation came out of the blue, and that it targets Jay-Z's own company in addition to Tidal direct.

The company said: "Tidal is up to date on all royalties for the rights to the music stated in Yesh Music, LLC and John Emanuele's claim and they are misinformed as to who, if anyone, owes royalty payments to them. As Yesh Music, LLC admits in their claim, Tidal has the rights to the master recordings through its distributor Tunecore and have paid Tunecore in full for such exploitations. Their dispute appears to be over the mechanical licenses, which we are also up to date on payments via Harry Fox Agency our administrator of mechanical royalties".

The company goes on: "This is the first we have heard of this dispute and Yesh Music, LLC should be engaging Harry Fox Agency if they believe they are owed the royalties claimed. They especially should not be naming S Carter Enterprises, LLC, which has nothing to do with Tidal. This claim serves as nothing other than a perfect example of why America needs tort reform".

The litigation actually relates to alleged infringements that occurred both before and after Jay-Z's acquisition of Tidal, and like Lowery and Ferrick's legal action, it is seeking class action status, so that other songwriters could benefit from success in court.

Also in common with the Spotify lawsuits, the plaintiffs are seeking statutory damages for copyright infringement, which would vastly exceed any unpaid mechanical royalties that are actually due to the songwriter or publisher at the statutory rate, not least because, as Tidal was keen to stress last night, "the entire catalogue in question streamed fewer than 13,000 times on Tidal and its predecessor over the past year".

Although introducing some extra gripes, this new lawsuit very much sits in the box with Lowery and Ferrick's actions against Spotify, and therefore is part of the wider debate - beyond the technicalities of the compulsory licence - as to whether this really is a significant failing on the part of the streaming services for which they should be held liable.

Or whether the music community at large - artists, songwriters, labels, publishers and streaming services - would actually be better engaged in trying to solve America's mechanical rights issues in the short term and the music industry's wider data problems in the longer term.

Though, with Tidal's "we're the artist friendly service" boasts and Jay-Z's involvement in the business, this dispute is likely to get even more coverage than Lowery and Ferrick's Spotify litigation. And it's always nice to be talked about, isn't it?

Universal Music owner trying to get back into gaming
Universal Music owner Vivendi is keen to get back into the gaming business it seems, it having once been the biggest shareholder in games giant Activision.

Vivendi has been in an acquisitions mode of late having raised a bucket of cash by selling off most of its gaming and tel co interests. A bucket of cash it now seems to be using to increase its interests in, erm, gaming and telecommunications.

Now the largest shareholder in Telecom Italia, Vivendi has been trying to buy French gaming firm Gameloft. Yesterday the entertainment conglom increased its offer for the gaming company after the Gameloft board said its previous bid was too low. Vivendi was originally offering six euros per Gameloft share, and has now increased that to 7.20 euros.

Although Vivendi has said that it wants to become a player across the entertainment industry - it already operating in music, TV and ticketing - Gameloft's board, as well knocking back its potential suitor's initial bid price, also said that Vivendi "does not have a single business that could offer Gameloft synergies".

Elsewhere in Vivendi news, the firm last week settled a long-running lawsuit with US-based Liberty Media over a deal way back in 2001, when the former bought the latter's stake in USA Networks. Liberty successfully sued claiming that it had been misled about the value of the Vivendi shares that were part of the deal. Although finally settling the litigation, Vivendi said that the deal was not an "admission of any wrongdoing".

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

Imagem allies with Chinese distributor, as new online content rules loom in China
Independent music publisher Imagem has signed a deal with Chinese digital distribution firm R2G, which will see the distributor handle the licensing of the publisher's repertoire in the Chinese market. Imagem is the latest music firm to ally with a Chinese partner in a bid to access royalties now being paid by various digital music set-ups in the country.

Confirming the deal, Imagem Group CEO Andre de Raaff told reporters: "We are excited to tap into R2G's wealth of experience and expertise in the publishing licensing area in China and grow with the market as better licensing conditions prevail, very important for all the writers and publishers we represent".

R2G President Mathew Daniel, meanwhile, added that: "Imagem has one of the most impressive music publishing catalogues in the world and we are delighted to be working with them as the music publishing market matures in China with music services starting to license publishing works".

The deal comes ahead of new regulations in China that will mean that only licensed companies are allowed to publish content online in the country, and only Chinese companies will qualify for such a licence.

For music rights owners, which generally work with local partners anyway, the new regulation is not so worrying, though such partnerships may have to be approved by Chinese regulators moving forward.

Meanwhile the measures, announced by the government department overseeing internet policy last month and seemingly due to go live later this month, have been widely criticised by the global media industry, and could impact on international streaming services operating, or looking to operate, in China.

Questions over upcoming ATP festivals as Pontins says they are cancelled
Organisers of ATP have denied that two of their upcoming UK festivals have been cancelled, despite the venue - Pontins in Prestatyn - saying otherwise.

With the two festivals due to take place over two weekends in April and curated by comedian Stewart Lee and the band Drive Like Jehu, rumours of the cancellations began to circulate yesterday afternoon. It was noticed that Pontins were offering chalets for hire to the general public on the dates of the two festivals. When asked why this was, Pontins said simply that: "ATP has been cancelled by the organiser".

But responding to this, ATP boss Barry Hogan said in a statement: "We have just spoken to Pontins and we are currently resolving this miscommunication. Our events are going ahead as planned". Exactly what this means isn't clear - both ATP and Pontins declined to comment further. However, yesterday evening Pontins maintained that "we have it down that the event is cancelled".

There have been issues with ATP events before, of course. In 2014, its London-based Jabberwocky festival was pulled with just three days' notice. And in 2012, a falling out with Butlins saw it move its holiday camp-based events back to Pontins, where they had originated, before making the decision to stop running such festivals altogether the following year. They were then revived last year.

Back in 2014, when Jabberwocky went under, a major problem for ticketholders was working out where they should claim refunds from, with ATP in dispute with its ticketing provider Dash Tickets as to who was responsible for such things. Dash claimed it was just a technology provider not a conventional ticket agent.

ATP is using Ticket Tailor this time, which similarly operates as a technology provider rather than payment processor. Ticket Tailor confirmed to CMU yesterday: "We don't hold any money from ticket sales. Everything goes directly to the event organiser".

In the case of Jabberwocky, many ticketholders ultimately received refunds from Paypal, which holds reserves against payments on event tickets in case of a cancellation. ATP is now processing payments through Stripe, which does sometimes hold reserves in some cases at its own discretion. It is not clear if that is the case here.

As of this morning, Pontins is still offering 'Family Breaks' to the general public on the dates of the two festivals.

YouTube announces team to improve Content ID and the video takedown process
Speak to the YouTubers about the music industry, and there is immediately some hostility, because those are the people who "keep blocking my videos" with copyright claims. And if you are a YouTuber who has managed to build a big enough audience to generate decent revenue from your channel, a blocked video is lost income.

Of course the YouTuber may have made use of music without permission, hence the block, or a music rights owner suddenly start claiming the ad income. Though the system that handles copyright claims, Content ID, isn't perfect, especially when it comes to matters of 'fair use' and such like under copyright law.

To that end, the video site has announced that a new team has been formed set with the task of improving the system via which videos are blocked - whether for copyright or other reasons - and the processes via which creators on the video site can appeal when their content or monetisation rights are taken away.

In a support forum post, YouTube told its creators: "Recently, there's been a lot of discussion about the enforcement of our policies, from video takedowns to channel demonetisation. We want you to know that we monitor video takedowns very closely, and while we haven't seen a big change in the overall rate of removals, it's true that we do make mistakes. For this, we're sorry and we strive to do better by you, our community".

The post went on: "The good news is that the feedback you've raised in comments and videos on YouTube and beyond is having an impact. It's caused us to look closely at our policies and helped us identify areas where we can get better. It's led us to create a team dedicated to minimising mistakes and improving the quality of our actions".

It's not just a team of people chit chatting, by the way. "[This has] encouraged us to roll out some initiatives in the coming months that will help strengthen communications between creators and YouTube support. We'll also make improvements to increase transparency into the status of monetisation claims. And of course, as we work to implement these improvements as quickly as we can, we'll continue to take your feedback seriously".

Quite what the specific changes will involve remains to be seen. On one level YouTube is balancing the interests of one group against another here, in particular music right owners versus YouTube creators, though those different constituencies often have similar issues with Content ID, so some improvements could make everyone happy.

UTV rebrands at the Wireless Group
UTV Media has now completed the sale of all its TV assets to ITV Plc, making UTV a rather silly name for it to trade under. But don't worry, they've noticed that.

From today the company will be known as the Wireless Group, which was the name of the UK radio business UTV bought in 2005 and which formed the core of the company's radio division, which is now pretty much it's only division.

As previously reported, UTV - or the Wireless Group, if you want to be incredibly on-brand - is co-owner of the new national digital radio network Sound Digital, which has just gone live.

A bunch of stations are already broadcasting on the new network, while some of the brand new services are still to launch, including TalkRadio, which will appear on 21 Mar, and the all new Virgin Radio, which will go live on 30 Mar.

  Approved: Dcnxtr
While this newly posted video from Dcnxtr will tell you a lot of things about the duo, it still leaves a certain amount of detective work to be done. Performing a version of their single 'Beautiful Moment' in a noisy alleyway in Bangkok, the song is stripped back as lo-fi as it'll go.

The original version of the track, released two years ago, reveals the duo's full-bodied, dreamy electro-pop sound. That sound is realised to even fuller potential on their debut album, 'Connext', released last year.

Check out a track from that album, 'Summer Rain', here.

Stay up to date with all of the artists featured in the CMU Approved column in 2016 by subscribing to our Spotify playlist.
CLICK HERE to read and share online
 

Jake Bugg announces lonely new album, tour of London
Jake Bugg is back again. He'll release his third album, 'On My One', on 17 Jun through Virgin EMI. First single, 'Gimme The Love', is out on 15 Apr.

That title's not a typo, by the way. That's apparently how they say 'on my own' in Nottingham. Wrong. Says Bugg: "In a lot of ways it sums up this record because it mainly has been me on my own".

"I saw this as the logical next step in my development as a songwriter", he adds of the fact that he wrote all eleven songs on the record, as well as playing most of the instruments and producing all but three tracks himself. "It was a challenge but something I felt I had to do".

Of the record's sound, he says that, like everything, its stems form the blues: "Blues is my favourite genre. Whether it's soul or hip hop, it all stems from the blues. To me the blues just means singing your emotions and expressing your pain so others can feel it. That's the beauty of music. If nothing else, I'd like to think I've done that with this record".

Well, you can think what you like, mate. He's also going on a tour of London this month, playing north, south, east and west (not in that order) next week. Here are the dates:

7 Mar: Village Underground
8 Mar: Tufnell Park Dome
10 Mar: Brixton Electric
11 Mar: Bush Hall

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Long Blondes' Kate Jackson announces debut solo album
Former Long Blondes frontwoman Kate Jackson has announced that she will release her debut solo album, 'British Road Movies', on 20 May.

Following the break up of the Long Blondes in 2008, Jackson became a painter, living and working in Italy until 2014. However, seeing Nick Cave film '20,000 Days On Earth' sparked a desire to get back to music.

"The road, much written about in American popular song, and an American cinematic staple, is often ignored in British culture", she says of the album's title and running theme. "As an island our roads lead somewhere far too quickly to hold adventure. We are not the land of Jack Kerouac but of Antiques Road Trip. But who is to say our roads can't be cinematic?"

The record was co-written and produced by Bernard Butler, of whom Jackson says: "We initially bonded over a shared love of Bowie, The Fall, Neil Young and Brian Eno, and quickly found that songwriting flowed freely between us".

Listen to a track form the album, 'Metropolis', here.

KT Tunstall, DJ Khaled, PRS For Music, more

Other notable announcements and developments today...

• KT Tunstall has signed on with Cast Management for worldwide representation. The new management deal comes ahead of a new album from the singer songwriter that is due out later this year.

• Your good mate DJ Khaled has signed up with Roc Nation for management. The deal covers the producer's own creative projects, but not his music company We The Best Music Group or acts signed to it.

• Good news for fans of takedown notices, PRS For Music is launching a brand new takedown tool called MAPS. Initially available to a select few publishers, the tool spots unlicensed songs on the internet and allows the rights owner to press a button and issue a takedown notice, demanding the offending tune - or link to offending tune - be bloody well taken own.

• Downtown Music Publishing is getting into the good old neighbouring rights business, offering to administrate performing rights income for recording artists and record labels, because why the hell not? And they've got Luke Montague involved too. Good times.

• Sony Music UK has promoted Phil Savill to the role of MD at its funkily named Commercial Music Group. He was previously the division's VP Marketing. Saville is "tremendously excited" about the promotion. As am I.

• Sony Music UK has promoted Ken Marshall to the new role of Senior Marketing Director, making yesterday a good day for the major's business card printers. The promotion will see Marshall extend his remit, something his boss Nicola Tuer is "THRILLED" about.

• Violet Skies is back with a new track, 'Jealousy'. Internationally minded folks can catch her at SXSW and Canadian Music Week in the near future.

• Allie X has announced that she will play her first ever UK show at Birthdays in Dalston on 5 Apr. "Finally I'm coming across the pond to perform", she says. "I am so Xcited to meet all the UK Xs". Yeah.

• New Zealand indie legends The Chills will return to London on 8 Jun with a show at Koko. Here's 'When The Poor Can Reach The Moon' from their first album in two decades, 'Silver Bullets'.

Sam Smith responds to Oscar speech critics
Sam Smith has hit out at people mocking him for that faux pas in his Oscar acceptance speech on Sunday, in which he claimed to be the first openly gay man to win at the Academy Awards.

Picking up the trophy for Best Song for his Bond theme 'Writing's On The Wall', Smith told the audience: "I read an article a few months ago by Sir Ian McKellen and he said that no openly gay man had ever won an Oscar. And if this is the case, even if it isn't the case, I want to dedicate this to the LGBT community all around the world. I stand here tonight as a proud gay man and I hope we can all stand together as equals one day".

Unfortunately, that's not quite what McKellen said when interviewed by The Guardian in January. Rather, he had pointed out that no openly gay man had ever won the Best Actor Oscar.

Told backstage that he was mistaken, Entertainment Weekly reports that Smith responded: "Shit! Fuck that! Two's my lucky number, so it's all good. Who was the other person?"

"If you have no idea who I am, it may be time to stop texting my fiancé", tweeted Oscar-winning screenwriter Dustin Lance Black, who is engaged to diver Tom Daley. Though both should note that quite a lot of openly gay men won non-acting Oscars before either of them.

Responding to criticism of his error yesterday, Smith wrote on Twitter: "Second openly gay man to win an Oscar or third or fourth or 100th, it wasn't my point. My point was to shine some light on the LGBT community who I love so dearly".

Ian McKellan also commented on Twitter, saying: "I'd said no openly gay actor had received Oscars - that doesn't detract from Sam Smith's achievement. Congratulations to him and all others!"

Smith also performed his winning song on Sunday night, of which he told the BBC: "It was the worst moment of my life. Singing was horrible. I hated every minute".

A night of ups and downs then.

 
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.

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