TODAY'S TOP STORY: If you heard a boom at one minute past midnight yesterday, that was collective licensing in Europe being sorted out once and for all. Every single little gripe you ever had about PRS and PPL (feel free to insert another European collecting society here if you wish) is now over, because the European Union has sorted it all out for you. What a glorious time to be alive this really is... [READ MORE]
TODAY'S APPROVED: Fakear, aka producer Théo Le Vigoureux, has been repeatedly knocking it out of the park with his fine brand of dense, warm electronic music in recent years. It's sent him high up the charts back home in France and put him in high demand as both a remixer and producer elsewhere. Now he's announced that he will release his debut album, 'Animal', through... [READ MORE]
CMU PODCAST: CMU'’s Andy Malt and Chris Cooke review the week in music and the music business, including Sony Music's lawsuit against former Rdio execs, Radiohead's catalogue seemingly shifting over to XL, MCPS putting its operations up for tender, and Beyonce and Deadmau5's latest trademark squabbles. The CMU Podcast is sponsored by 7digital... [LISTEN HERE]
TOP STORIES New European collective licensing regulation formally goes live
LEGAL Warner settles with vKontakte
Al Green label asks judge to reject CBS Radio's remaster defence in pre-1972 case
Vice Media tries to block LA band ViceVersa's trademark bid
Rammstein sue German government
LIVE BUSINESS T In The Park to increase main arena size by a third in site revamp
ARTIST NEWS Bruce Springsteen and Bryan Adams cancel shows to protest new anti-LGBT laws
RELEASES Carly Rae Jepsen releases Boy Problems video
ONE LINERS Tool, DJ Shadow, Kaytranada, more
AND FINALLY... Gene Simmons confuses Jimi Hendrix for rapper
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Cherry Red Records, one of the UK's leading independent labels is looking for a full-time administration and royalty assistant to join its team based in West London.

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The Columbo Group is hiring a Live Bookings Manager for a new live music venue.

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Hideout started in 2011 and was created by Sound Channel and The Warehouse Project. The festival has grown massively over the last five years and sells out well in advance. The Marketing Executive assists in running the Hideout marketing campaign.

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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.
14 Apr 2016 CMU Insights @ Music 4.5: Playlists 2
20 Apr 2016 CMU:DIY x Urban Development Industry Takeover Seminar
22 Apr 2016 CMU Insights @ Wide Days 2016
27 Apr 2016 CMU Insights @ Music Connected 2016
6 May 2016 CMU Insights @ Canadian Music Week 2016
19-20 May 2016 CMU Insights @ The Great Escape 2016
21 May 2016 CMU:DIY x The Great Escape 2016
kicks off 6 Jun 2016 CMU Insights Seminars Programme: How The Music Business Works
6 Jun 2016 CMU Insights Seminar: Making Money From Music
13 Jun 2016 CMU Insights Seminar: How Music Rights Work
15 Jun 2016 CMU Masterclass: Music Business Explained - For Brands
20 Jun 2016 CMU Insights Seminar: How Music Licensing Works
27 Jun 2016 CMU Insights Seminar: The Music Rights Sector
4 Jul 2016 CMU Insights Seminar: Merch, Live & Brands
6 Jul 2016 CMU Masterclass: Navigating The Digital Market
11 Jul 2016 CMU Insights Seminar: Building A Fanbase - Social Media Tools
18 Jul 2016 CMU Insights Seminar: Building A Fanbase - Music Media
25 Jul 2016 CMU Insights Seminar: Building A Fan-Orientated Business

New European collective licensing regulation formally goes live
If you heard a boom at one minute past midnight yesterday, that was collective licensing in Europe being sorted out once and for all. Every single little gripe you ever had about PRS and PPL (feel free to insert another European collecting society here if you wish) is now over, because the European Union has sorted it all out for you. What a glorious time to be alive this really is.

So yes, yesterday was the deadline for member states of the European Union to implement the Collective Rights Management Directive of 2014, which set out new rules governing so called 'collective management organisations', like the aforementioned PRS and PPL.

The EU directive, and resulting national laws, should make it easier for creators and rights owners to move their works between CMOs around Europe, ensure members have decent representation within their societies, that payments are timely, and everything is more transparent.

"This is great news for UK rights holders who deserve to be paid accurately and promptly for their work", said IP minister Lucy Neville-Rolfe this weekend, as provisions in the CRM Directive became law in the UK. "I am certain that the increased oversight and transparency offered to artists will improve the standards of collective management organisations across Europe, and make the entire process run more smoothly. It is right that artists have more choice over who manages their work and how they do it".

Transparency, or the lack thereof, remains a big issue in the artist and songwriter community, of course, with performers and creators often in the dark about key elements of the deals labels, publishers and CMOs do, especially with digital services. But hey, CMOs are super transparent now, so everyone phone up PRS and ask for the precise revenue share arrangements and per-stream minima in its Spotify deal! Oh, not that transparent then.

Though - while plenty of gripes about the operations and governance of collecting societies will remain within the music community - some creators and rights owners do admit that they have already seen improvements within certain CMOs in Europe since the CRM Directive was passed at a European level two years ago, especially when it comes to royalty reporting.

Now, some of that will actually be down to increased competition from more transparent and more efficient commercial operators in the rights administration sector, though the fact the directive should make it easier for people and companies to move their rights between societies increases that market pressure, which should in theory improve the services European CMOs provide to their members.

While more CMOs are now dabbling with multi-territory licensing, especially in the digital domain, in many more traditional areas of collective licensing national societies still rely on their counterparts in other countries to collect from licensees and to then pass that money on through reciprocal agreements. Which means that PRS and PPL members in the UK should benefit from better governance and royalty processing at societies with which they have no direct contact, as well as any improvements they may or may not see at home.

Which is a point noted by the boss of the UK's Music Managers Forum, Annabella Coldrick, who said this weekend: "The Music Managers Forum supports the provisions of the CRM Directive to help drive increased transparency and accountability within the UK's collective music management bodies - PPL and PRS. We hope that the implementation of these requirements in other European territories should lead to increased revenues being correctly returned to UK artists from overseas".

Back in the world of collective licensing itself, the chief of PRS - Robert Ashcroft - also welcomed the CRM Directive finally going live, reckoning his organisation already complies, and that the new rules should ensure the repertoire his organisation represents benefits from more efficient CMO management elsewhere in Europe. Ashcroft will also support the regulation that encourages more competition between CMOs in Europe, PRS being one of the societies with global ambitions, both with its own repertoire and via the previously reported ICE joint venture with German and Swedish societies GEMA and STIM.

Said Ashcroft yesterday: "From its inception we have supported the overarching principles and objectives of the CRM Directive and the intention to create a framework that promotes transparency, efficiency and accountability by collecting societies in Europe. These characteristics are vital to effective rights management, not just for digital online markets but for national licensing. The directive also provides the essential legal framework to support competition among collective rights management organisations for rightholders' mandates rather than for licensees, further encouraging the competitive market for online rights by setting high standards for the delivery of multi-territory licensing".

So that's that, the European Union has officially fixed collective licensing. And those of you still pissed off with your own societies, about this or that or whatever, will now just have to join the Brexit campaign. Actually don't. If every artist and songwriter pissed off with their collecting societies joined the Brexit campaign, that Bpoplive gig would have the longest line-up in history.

Warner settles with vKontakte
Warner Music and Russian social network vKontakte have reached an out of court settlement which brings to an end a long running legal battle between the two companies. It means only Universal is now suing the social media firm.

As previously reported, both local and international music companies have accused vKontakte of deliberately turning a blind eye to the rampant copyright infringement that occurs on its networks. vKontakte, meanwhile, insists that it has measures in place to combat piracy on its platform, while frequently talking about becoming a legit streaming music service provider.

Various music companies have sued on this issue, with mixed success in court. Though legal action pursued by the global music majors has been arguably the least successful, with the Russian courts firstly saying that the record companies were not due damages for past infringement on the vKontakte network, and then more recently withdrawing demands judges had previously made regarding the social media firm ramping up anti-piracy measures.

Sony Music actually announced a non-descript 'goodwill agreement' with vKontakte last summer, but Warner and Universal continued with their litigation. And when the most recent ruling went against the record companies, trade group the IFPI said both majors intended to appeal.

Warner is now dropping out of the litigation as a result of the new agreement with vKontakte, which will see the social network offer a licensed streaming music package via a deal with Russian company United Media Agency, which Warner is in turn licensing.

Confirming the deal, vKontakte boss Boris Dobrodeev told reporter: "VK continues to move towards cooperation with record companies and other rights holders. This agreement is another important milestone in this direction, and both music fans and rights holders will benefit".

Meanwhile, Warner Music Russia CEO Alexander Blinov added: "We believe there is huge potential to grow our business in Russia, and further invest in local talent, when artists and rights holders are compensated fairly. These arrangements represent a significant step on the journey to a properly functioning market".


Al Green label asks judge to reject CBS Radio's remaster defence in pre-1972 case
The label suing CBS Radio over pre-1972 sound recordings last week urged a judge to dismiss one of the broadcaster's defences in the case, an argument based on a classic music rights debate: does a remaster of a sound recording create a new copyright?

As previously reported, this dispute began with the US record industry's fight with Pandora and Sirius over whether or not online and satellite broadcasters needed to pay royalties to record companies for airing pre-1972 recordings. Federal law in America says online and satellite radio services do need to pay royalties, whereas AM and FM stations do not. But federal law only applies to sound recordings released since 1972.

Pre-1972 recordings are protected by state copyright laws which make no distinction between online and traditional radio. Because AM/FM stations have never paid royalties when they play golden oldies, Pandora and Sirius argued they shouldn't have to either. But test cases in California and New York said that there was likely a general performing right as part of the sound recording copyright under those states' laws, so that Pandora and Sirius did have to pay royalties on oldies after all.

As state law makes no distinction between AM/FM and online radio, if Pandora and Sirius have to pay royalties on pre-1972 recordings, then so should conventional radio stations. Like those owned by CBS Radio. But no AM/FM radio station in the US has ever paid royalties to record companies, for pre or post 1972 catalogue.

ABS Entertainment, which owns old recordings by Al Green, among others, is testing all this by suing CBS Radio for unpaid royalties on pre-1972 tracks. The media firm responded to the litigation last year, partly by arguing against ABS's interpretation of state level copyright law, but also - just in case that argument fails - by claiming that the versions of 1950s and 1960s tracks its stations play have all been remastered since 1972, so should be covered by federal and not state law.

ABS responded to that latter argument last week, urging the judge to reject it. According to Law360, reps for ABS said in a statement: "Remastering sound recordings from one format to another, along with mechanical processing to optimise the recording for the new format, does not convert a pre-1972 sound recording into a post-1972 sound recording".

Calling this particular CBS defence "legally flawed", ABS then noted that if a mere remaster creates a new copyright, then the record industry "could extend copyright protection indefinitely by continuing to re-master a work into new formats". Because, of course, each time a new copyright is created, a new copyright term begins (95 years in the case of the US sound recording copyright).

Now, while it is true that the remaster thing is a sneaky technicality for CBS to employ in its defence, there is the issue that some in the record industry are actually hoping that they can "extend copyright protection indefinitely by continuing to remaster a work". Which is why super-duper remastered versions of the biggest hits are often put out just before the copyright term of the original version expires.

This is a grey area in copyright law, the debate being how much rejiggery has to occur in the re-master for a brand new sound recording copyright to have been created. ABS's argument, therefore, doesn't necessarily conflict with the wider record industry's grand plan to create new copyrights through re-mastered releases, in that the music firm's main argument is that CBS is claiming that the touching up that occurs when a label re-releases a recording on a new format is sufficient to create a new copyright, whereas most labels would agree the remastering should be more substantial than that to claim a new protected work.

It remains to be seen how the judge responds on this issue. Though, ironically, if the record industry is successful in securing a general performing right for sound recordings in US federal law - which it is currently lobbying for - it would be the labels arguing that their golden oldie tracks had been re-mastered so were still in copyright, whereas the broadcasters would be crying foul over such claims.


Vice Media tries to block LA band ViceVersa's trademark bid
Vice Media is reportedly blocking an attempt by an unsigned LA band called ViceVersa to trademark their name.

According to The Huffington Post, Vice first sent a cease and desist letter to the band last December claiming that ViceVersa's name and logo were too similar to that of the media firm. The letter demanded that the band stop using their moniker, take their website and social media pages down, and stop selling any merch containing their name.

The cease and desist followed the US trademark authority giving ViceVersa's guitarist Christopher Morales (aka Zeke Zeledon) provisional approval in his bid to trademark his band's name. Vice has now lodged a formal opposition to that application with the US trademark registry.

But, according to the Huffington Post, ViceVersa's legal rep is confident the unsigned band can defeat the youth media giant, because companies "can't normally protect commonly used words or phrases like 'vice', when used inside of another word or phrase that is unique". That principle would definitely apply here, given the meaning of 'vice versa' has little to do with the main definition of 'vice'. To the extent that the band say the crossover with the media firm's brand never occurred to them when they picked their name.

A spokesperson for Vice said that the dispute was "a standard, cut-and-dry trademark matter", while insisting there was no actual litigation in play here. Which is right. It's just some of those out-of-control trademark lawyers stamping their feet. Though wait until they find out ViceVersa's music is noisy and goes with a thump. That's when the sparks will really fly.


Rammstein sue German government
Rammstein are suing the German government over a 2009 decision to restrict the sale of their 'Liebe Ist Für Alle Da' album.

As previously reported, the Federal Office For The Examination Of Media Harmful To Young People banned the album from being put on public display. The decision was made over concerns that one particular song on it, 'Ich Tu Dir Weh', and some photographs within the album's artwork, were "brutalising" and "immoral".

Advertising of the record was also restricted, so the band's label Universal pressed a new version of the record with the offending content removed in order to circumvent the restrictions. The ban then was lifted after six months, after it was argued in court that the band's right to artistic expression hadn't been taken into account during the original decision.

However, in new legal action the band say that they were forced to destroy 85,000 copies of the original pressing of the record as a result of the government's albeit short-lived ban, and they are now seeking 66,000 euros in damages, reports Deutsche Welle.

It's not clear why it has taken until now for the band to file this lawsuit. The case is due to be heard in court this summer.

T In The Park to increase main arena size by a third in site revamp
Promoters of T In The Park have announced a major revamp of the festival's main arena, which will increase its size by a third, as the event overhauls how it uses its new site at Strathallan Castle.

As previously reported, the festival's first outing at its new location last year garnered much criticism from punters, neighbours and the local council, with organisers DF Concerts admitting to problems, and promising to address the various concerns raised about congestion, security and disruption to local residents.

As part of its plans to overcome those issues, DF has secured additional land for the event, which will enable it to increase the size of its main stage arena. Positioning of the main stage, as well as the Radio 1 Stage, King Tut's Wah Wah Hut Tent and the Slam Tent, will all also be altered in a bid to reduce congestion and cut bottlenecks on site.

As previously reported, DF recently provided Perth & Kinross Council with a licensing proposal that runs to hundreds of pages in a bid to convince local authority leaders that the 2016 edition of T In The Park will overcome all the issues that occurred in 2015.

Commenting on the expansion of his festival's main arena, DF boss Geoff Ellis is quoted by the BBC as saying: "Our fans are our number one priority and we've listened to all of their feedback from last year and now we're putting that into action. These changes will ensure that watching the wide array of amazing artists at the stages, as well as moving around the main arena, will be much more comfortable and a positive experience for all fans, ultimately making T In The Park 2016 a year to remember for all the right reasons - brilliant music and outstanding entertainment enjoyed with your best mates".

Local osprey are yet to comment on this year's proposed layout.

  Approved: Fakear
Fakear, aka producer Théo Le Vigoureux, has been repeatedly knocking it out of the park with his fine brand of dense, warm electronic music in recent years. It's sent him high up the charts back home in France and put him in high demand as both a remixer and producer elsewhere. Now he's announced that he will release his debut album, 'Animal', through Counter Records on 10 Jun.

Tracks like 'La Lune Rousse' and 'Skyline' show instantly why Fakear's made such a mark on his fans, as does latest single 'Sheer-Khan', a track inspired by the tiger of the same name in 'The Jungle Book'. Using his instantly recognisable vocal cut-ups and an array of intriguing samples, it's yet another unfeasibly good piece of music to add to his catalogue.

More details of the album are due soon, and you can catch Fakear live this week at XOYO in London on 14 Apr.

Listen to 'Sheer-Khan' here.

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Bruce Springsteen and Bryan Adams cancel shows to protest new anti-LGBT laws
Bruce Springsteen and Bryan Adams have both cancelled performances in the US in protest against controversial new state laws discriminating against LGBT people.

Springsteen was due to play a show in Greensboro, North Carolina last night, but cancelled on Friday as a protest against the state's newly passed Public Facilities Privacy And Security Act. Also know as the 'bathroom bill', the controversial new law dictates that transgender people must use public toilets associated with their birth gender, rather than that with which they now identify.

"No other group of North Carolinians faces such a burden", said Springsteen in a statement. "To my mind, it's an attempt by people who cannot stand the progress our country has made in recognising the human rights of all of our citizens to overturn that progress".

"Right now, there are many groups, businesses, and individuals in North Carolina working to oppose and overcome these negative developments", he continued. "Taking all of this into account, I feel that this is a time for me and the band to show solidarity for those freedom fighters. As a result, and with deepest apologies to our dedicated fans in Greensboro, we have canceled our show scheduled for Sunday, 10 Apr".

"Some things are more important than a rock show and this fight against prejudice and bigotry - which is happening as I write - is one of them", he concluded. "It is the strongest means I have for raising my voice in opposition to those who continue to push us backwards instead of forwards".

Adams, meanwhile, pulled a show in Mississippi this Thursday after the state passed the Religious Liberty Accommodation Act into law. The measure allows businesses, individuals and religious organisations to deny services to people who offend someone's "sincerely held religious belief".

Specifically, the beliefs covered by the law are that marriage is the union of one man and one woman, sexual relations should only exist within the union of marriage, and that a person's gender is unchangeable from that assigned at birth. The laws are particularly seen as targeting lesbian, gay, bisexual and transgender people, and single mothers.

In a statement, Adams said: "I find it incomprehensible that LGBT citizens are being discriminated against in the state of Mississippi. I cannot in good conscience perform in a state where certain people are being denied their civil rights due to their sexual orientation. Therefore I'm cancelling my 14 Apr show at the Mississippi Coast Coliseum".

"Using my voice I stand in solidarity with all my LGBT friends to repeal this extremely discriminatory bill", he continued. "Hopefully Mississippi will right itself and I can come back and perform for all of my many fans. I look forward to that day".

Carly Rae Jepsen releases Boy Problems video
Carly Rae Jepsen has released the video for 'Boy Problems', a track taken from her 2015 album 'Emotion', directed by photographer Petra Collins.

"Out of the blue, Petra reached out to ask if she could make a video for her favourite track from the album, 'Boy Problems'", Jepsen tells Rookie. "What she didn't know is that I had been following her online, via Instagram and other outlets, for a while and had become a HUGE fan of her photographs and artwork".

She continues: "I think she has a very gifted eye for a refreshing look at youth and beauty, and the way she plays with colour always stands out to me. So the answer was an immediate YES! We met that first day in New York and were giddy with creating something new together and I am so pleased for how the dark and glittery scenes we imagined turned out. I hope you enjoy it!"

Watch the video here.

Tool, DJ Shadow, Kaytranada, more

Other notable announcements and developments today...

• The Tool website reckons the band now only have "a couple of 'shorter' songs left to complete, along with a segue or two or three", on their new album. So expect to be able to listen to it in about five years' time.

• DJ Shadow has announced that he will release new album 'The Mountain Will Fall', on 24 Jun. It will feature collaborations with Run The Jewels, Nils Frahm, Matthew Halsall, Ernie Fresh, G Jones and Bleep Bloop. Here's the title track.

• Kaytranada has released the video for new single 'Glowed Up', which features Anderson .Paak. Watch it here.

• Girli has announced a new single, 'Girls Get Angry Too'. On the inspiration for the track, she says: "Someone said to me that girls don't really get angry - they just whine, while another person told me that it was 'cute' that I rapped". Would you like to hear it? Well here it is.

• Ry X has released 'Deliverance', the latest single from forthcoming new album, 'Damn'. That album is out on 6 May, and this is that single.

Gene Simmons confuses Jimi Hendrix for rapper
It's funny how you become the thing you hate, isn't it? Once upon a time rock music was an act of rebellion against older generations, gleefully making noises that oldies didn't understand and didn't want to exist.

Now rock is the music of the older generations, and they're the ones doing the complaining about the new kids. Even if the new kids are now pretty old themselves and everyone's frankly had time to get used to them.

Gene Simmons recently said in an interview with Rolling Stone that he is "looking forward to the death of rap", which he reckons will happen within the next decade. We could look forward to a time of "music coming back to lyrics and melody, instead of just talking".

I'm not sure what he thinks is going to kill off the massively popular and well-established artform of rapping. Though I'm sure people said similar things about his music 40 years ago. "When will they stop prancing around in those silly costumes and make-up, playing those awful songs", people of Kiss's parents' generation would say. The fact that people of all ages continue to say that to the present day is beside the point in this case.

Anyway, the point is, Simmons' position was further weakened this weekend when NWA were inducted into the Rock N Roll Hall Of Fame. "I want to say to Mr Gene Simmons that hip hop is here forever", said MC Ren as the group accepted the position. "We're supposed to be here", added Ice Cube. "'The question is, 'Are we rock n roll?' And I say, you're goddamn right we're rock n roll".

Arguably, NWA do indeed have far more right to the status of 'rock n roll' than Kiss, unless your definition of that fairly meaningless term is predicated upon an act having guitars, rather that looking at musical and social history. But, whatever, Gene Simmons isn't the kind of guy to let someone else have the last word.

"Respectfully", he began, disrespectfully, "let me know when Jimi Hendrix gets into the hip hop hall of fame. Then you'll have a point".

Which is a bit like him saying fish shouldn't be sold as food because lettuces can't swim.

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.
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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.
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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.
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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.
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