TODAY'S TOP STORY: There was me, just yesterday, bemoaning the lack of a big-sized music industry merger to get my reinforced reporting teeth into, when Sony's acquisition of the half of Sony/ATV previously owned by Mickey Jackson is yet to get competition regulator approval. How could I forget about that! So, yes, perhaps unsurprisingly, some of Sony Corp's competitors are lining up to oppose the... [READ MORE]
TODAY'S APPROVED: A distinct new voice in pop, Irish musician Lyra emerges with her debut single, 'Rabbit In The Headlights' this week. Produced by Rupert Christie, the track shows off a diverse array of vocal styles, which shift and change with the music to great effect. "I tried to sing differently for so much of my childhood", says Lyra. "I even tried singing with a British accent... [READ MORE]
CMU PODCAST: CMU's Andy Malt and Chris Cooke review the week in music and the music business, including the key stats from the IFPI's latest Global Music Report and what they mean, Facebook's new Content ID system, the legal battle to prove that 'We Shall Overcome' is in the public domain, and Gene Simmons' attempts to prove that NWA aren't rock n roll. The CMU Podcast is sponsored by 7digital... [LISTEN HERE]
TOP STORIES Warner and the indies set to object to Sony taking complete control of Sony/ATV
LEGAL Aussie labels seek KickassTorrents web-block
Martin Shkreli dropped from Wu-Tang copyright infringement case
DIGITAL & D2F SERVICES Shazam For Brands is a thing now
MEDIA BBC Radio 1 and 2 to playlist more UK music
THE GREAT ESCAPE CMU@TGE Previews: YouTube licensing - explained at last!
ARTIST NEWS Only known studio footage of Louis Armstrong acquired by museum
RELEASES Death From Above 1979 to release live EP recorded at Third Man Records
Deerhoof announce magical new album
ONE LINERS Bowery Presents, Universal, Sub Pop, more
AND FINALLY... Rich people remain rich, annual study of rich people finds
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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.
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

Warner and the indies set to object to Sony taking complete control of Sony/ATV
There was me, just yesterday, bemoaning the lack of a big-sized music industry merger to get my reinforced reporting teeth into, when Sony's acquisition of the half of Sony/ATV previously owned by Mickey Jackson is yet to get competition regulator approval. How could I forget about that!

So, yes, perhaps unsurprisingly, some of Sony Corp's competitors are lining up to oppose the entertainment conglom's grand plan to take complete ownership of the world's biggest music publisher, bringing said company into full common ownership with the world's second biggest record company, good old Sony Music Entertainment.

According to Bloomberg, Warner Music has already approached the European Commission, which has to power to block the deal in Europe if it is deemed to breach competition rules by giving Sony too much control of the music licensing market. Sources also suggest that BMG, another key player in music rights of course, especially in Europe, is possibly considering objecting to the proposed Sony/ATV deal through the European Commission.

The indie music community has also raised concerns, as it usually does when major music industry mergers land on the table. Bloomberg quotes Helen Smith of indie label trade group IMPALA as saying: "It's difficult to imagine how the Sony/ATV deal could get any kind of green light from the European Commission. Just three years ago the EC effectively set a limit when it already said Sony was too big and had to divest assets".

That EC ruling occurred when Sony led a consortium of bidders to buy the EMI Music Publishing business, which is now basically run as a subsidiary of Sony/ATV, even though it has multiple owners, and will continue to do so even when Sony takes full ownership of the parent company. It is the combination of the Sony/ATV and EMI catalogues that makes the Sony-controlled publishing business so powerful.

During the big EMI sale, more scrutiny was arguably put on Universal's purchase of the EMI record company, possibly because Sony was leading a consortium of bidders rather than wholly acquiring the EMI songs itself, making that deal more complicated. Also, on the publishing side, in Continental Europe it is often the collecting societies rather than the publishers that do the big deals with digital service providers, which constrains to an extent the market dominance of individual publishing firms.

The EC did, nevertheless, express some concerns over the market power of the combined Sony/ATV/EMI back in 2012. It remains to be seen if those concerns are now heightened by Sony Corp owning the main Sony/ATV company outright, alongside its Sony Music recorded music business.

No one really expects the EC to block the deal between Sony and the Jackson Estate, but competition regulators could force the offloading of certain catalogues currently controlled by Sony/ATV, which would be good news for those rivals looking to expand their song repertoires with a few bankable hits.

Sony signed a definite agreement with the Jackson estate to acquire its half of Sony/ATV earlier this week, having announced the preliminary deal last month. Fans of music industry mergers of old will remember that, once the deal is formally passed to European regulators for approval, it could clear the transaction within six weeks, or open a more detailed four month investigation to consider market impact and possible remedies.

Let's all keep our fingers crossed for the latter - because everyone in music loves a bit of competition law news over their lunch, right?

Aussie labels seek KickassTorrents web-block
With Australian TV firm Foxtel busy building a blockade around The Pirate Bay, the major record companies are taking on responsibility for constructing a fence around the KickassTorrents compound that would impress even Donald Trump.

The Australian entertainment industry is now capitalising on previously reported new web-blocking laws in the country, which allow content owners to request the courts to force internet service providers to block access to piracy websites.

After Foxtel made the first web-block application in Australia, with usual suspect The Pirate Bay at the top of its target list, this week the Australian Recording Industry Association teamed up with collecting society APRA/AMCOS to file its first web-block request in the country, with Kickass their main priority.

Confirming the web-block bid, APRA chair Jenny Morris told reporters: "Online infringement continues to be a major threat to the sustainability of the Australian music industry. Illegal offshore sites like Kickass Torrents show a complete disrespect for music creators and the value of music".

She went on: "Australian music fans already have access - for free if they choose - to the world's repertoire of music via more than 20 legitimate licensed online music services. Blocking access to sites like Kickass Torrents is all about supporting those services and allowing the writers whose songs are available on them to be paid for their work".

As much previously reported, web-blocking has become a preferred anti-piracy tactic in most of the countries where web-block injunctions are an option, and no more so than in the UK. Though web-blocking is by no means perfect, because a simple Google search will usually tell users how to access blocked sites with just a couple of clicks. Which is why one of the UK record industry's recent demands of Google was that it automatically de-list any blocked piracy site, and any proxies seeking to circumvent the blockades.


Martin Shkreli dropped from Wu-Tang copyright infringement case
Martin Shkreli has been dropped from a copyright infringement lawsuit relating to the single copy Wu-Tang Clan album 'Once Upon A Time In Shaolin'. Which hopefully brings us one step closer to being able to put him back in the 'Not Music News' file.

As previously reported, the controversial pharmaceuticals exec bought the lone copy of the album for $2 million last year. Shkreli then showed off his prize to Vice, which revealed that drawings of the group's members by artist Jason Koza had been used in the album's artwork. This was not cool, the artist himself subsequently declared, because he had only licensed the drawings for use on the WuDisciples website.

Koza promptly sued Shkreli, Wu-Tang's RZA, producer Tarik 'Cilvaringz' Azzougarh, and the auction site that had sold the record, Paddle8, for the unauthorised use of his work. Shkreli was named in the lawsuit because he had 'displayed' the artwork without permission, which seemed like a slightly ropey interpretation of US public display rights at the time. Shkreli legal team then went on to claim that the display was covered by fair use rules anyway.

Shkreli's lawyer John Wait yesterday confirmed to Billboard that his client's name had now been dropped from the legal action, saying: "Mr Koza agreed to drop his case against Mr Shkreli on the morning that his opposition to Mr Shkreli's motion to dismiss for failure to state a claim was due to be filed in federal court. Mr Shkreli did not agree to any conditions or pay any form of settlement in exchange for being dismissed from the case. In our view it is likely that Mr Koza recognised that he would be unable to maintain an infringement claim against Mr Shkreli in light of the fair use doctrine".

But Koza's lawyer Peter Scoolidge then said that the fair use claim was not the reason for dropping Shkreli from his client's litigation, and suggested that he might be added back in at a later date, adding: "We stipulated to drop the case against Mr Shkreli for the time being because he is apparently indemnified by other parties in the case".

Shazam For Brands is a thing now
Shazam has launched Shazam For Brands, a new thing that will let people wave their phone at stuff they've bought and then tweet about it. This is the future you wanted, right?

According to the company, with this latest development in the advertiser side of the Shazam business "brands can now leverage data-driven storytelling to produce their own content". Woah guys, don't make it sound like too much fun. The first airing of the new technology recently featured in Coca-Cola's snappily-titled 'Share A Coke And A Song' campaign. Pointing your phone at "Shazam-enabled bottles" allowed people to record lip sync videos for various songs and then tweet them. For some reason.

"We are launching Shazam For Brands because we believe Shazam is uniquely positioned to become the default platform for connecting the mobile world with the real world", says Shazam's Chief Revenue Officer Greg Glenday. "This began with music identification, and has allowed us to be the first to occupy invaluable real estate on smartphones around the world. Today's launch introduces new technology and content tools for brands to utilise data and engagement in a way defined by the very audiences they seek".

I liked Shazam a lot more when you had to ring it up and it cost £1.50 a pop. There was none of this talk of 'smartphone real estate' and 'audience-defined engagement' back then. Stupid internet, ruining everything again.

BBC Radio 1 and 2 to playlist more UK music
The BBC is to increase the amount of UK talent playlisted on Radios 1 and 2, despite both stations already exceeding current quotas.

This follows a review by the broadcaster, launched due to government criticism that the two stations are not distinct enough from commercial rivals or each other. This, the report found, is not true. In fact, on the first point, the review found that almost 90% of songs played by Radios 1 and 2 are not played by any other station.

The exact new quotas for UK music are still to be drawn up, but the report said that the rules must "ensure that Radio 1 and Radio 2 have a strong commitment to new and UK music, so that a strong proportion of the new music in daytime on Radio 1 and Radio 2 should be from the UK".

On claims that the two stations are not distinct enough from each other, the report said that around 5% of the music played on one station does also appear on the other. But this crossover is generally down to certain songs appealing to a wide age range.

"Adele, for example, is 27, still within Radio 1's target age range, but her songs have an almost universal appeal", said the report. "Ultimately, however, the difference between the two stations is the next track after Adele: On Radio 1 it will often be a cutting edge track from a brand new band; on Radio 2 it is more likely to be a classic 60s or 70s song".

This review comes ahead of a government white paper on the future of the BBC, due to be published next month, while the Corporation's Royal Charter is up for renewal later this year, which will outline future funding for the broadcaster. As previously reported, there have been fears over what effect cutting back BBC music services would have on the UK industry, with numerous high profile musicians backing a campaign to protect them.

CMU@TGE Previews: YouTube licensing - explained at last!
Four weeks today The Great Escape will be kicking off for another year, presenting 450 bands in 30 venues over three days in Brighton, with 3500 music industry professionals gathering alongside 16,500 festival-goers for the UK's big annual seaside celebration of new music and the new music industry.

Once again at the heart of the convention programme you will find CMU Insights @ The Great Escape, our annual conference putting the spotlight on the very latest trends and development in the business of music. Unlike most other music industry conferences, CMU@TGE focuses on just four topics, presenting a full day of content around each theme with a mixture of talks, case studies, interviews and debates.

Each day in the CMU Daily in the run up to this year's Great Escape, Business Editor Chris Cooke will preview a different session, explaining the thinking behind it. And first in the line for previewing, the sessions that form the full-day strand 'What if YouTube actually is the future?', taking place on the Thursday, 19 May, in Dukes @ Komedia 2...

YouTube is the devil, or so says Metallica manager Peter Mensch. It's certainly the talking point that won't go away, as the majors try their hardest to negotiate more favourable terms from the world's biggest streaming platform, while concurrently sending their lobbyists to Brussels and Washington in a bid to get copyright law rewritten, so that the safe harbours Google relies on to operate an 'opt-out' streaming service may be removed.

We're not going to settle the big stand-off between the music rights owners and YouTube in a conference room, but we can inform the debate, and that's what we are going to do at the start of our YouTube and video focused strand at CMU Insights @ The Great Escape next month, with the session 'YouTube licensing - explained at last!'

We all know the licensing of streaming services is complex. That's why the Music Managers Forum commissioned us to write the 'Dissecting The Digital Dollar' report last year which explains how audio streaming services like Spotify are licensed by record companies, music publishers and collecting societies. But with YouTube, there are some extra complexities, not least because the video platform is multiple things - a streaming platform, a media platform and a user-generated content platform.

My mission in 'YouTube licensing - explained at last!' is to try to explain how YouTube is licensed in just 30 minutes, including how Vevo and Warner Music managed channels fit into the mix. I'll also explain in the simplest possible terms what the safe harbours are all about, just in case any of you have been nodding furiously in meetings that "something must be done" while not really understanding what the hell safe harbours are actually all about.

Then I'll be talking to three brilliant people with three very different perspectives on the licensing issues around YouTube and video online: Sophie Goossens from law firm Avocat, Stacey Mitsopulos from broadcaster Box Plus and Christina Vaughan from music licensing hub CueSongs.

We'll start by getting our heads around the safe harbours issue, and understanding the processes underway in Brussels and Washington to review the laws from which YouTube benefits. But more than that, we'll investigate the other complexities around the licensing of YouTube and similar platforms, and discuss where there are inefficiencies and missed opportunities which may be the fault of the music industry more than big bad Google.

'YouTube licensing - explained at last!' takes place at 11am on Thursday 19 May in Dukes@Komedia 2, kickstarting a whole day focused on YouTube and video online, hosted by Brittney Bean of Tracks2. You will find a full outline of the day here, plus look out for previews of the other sessions taking place as part of the strand in upcoming editions of the CMU Daily.

TGE delegates get access to all of CMU Insights @ The Great Escape and all the other festivities that take place over the three days of the festival - passes are £230 and available here. This year tickets are also available for just the convention side of the proceedings for £100 and those can be bought here.

  Approved: Lyra
A distinct new voice in pop, Irish musician Lyra emerges with her debut single, 'Rabbit In The Headlights' this week. Produced by Rupert Christie, the track shows off a diverse array of vocal styles, which shift and change with the music to great effect.

"I tried to sing differently for so much of my childhood", says Lyra. "I even tried singing with a British accent! It made me unhappy trying to be something that I wasn't. Ultimately I learned I couldn't be anything other than my true self. I wrote this song to help myself and others realise, there's only one you on this earth - be it".

Positive message duly dealt, more music is expected soon. But for now, 'Rabbit In The Headlights' should be more than enough.

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Only known studio footage of Louis Armstrong acquired by museum
The Louis Armstrong House Museum in New York has announced that it has acquired the only known footage of the jazz musician in the studio. Professionally shot during the recording of Armstrong's 1959 album, 'Satchmo Plays King Oliver', the 33 minute film was placed in storage by record producer Sid Frey and never used.

"The film has spent the past six decades in private hands or in a storage locker", the museum's Executive Director Michael Cogswell tells Associated Press. "Not even the most diligent Armstrong researchers knew it existed".

The footage was apparently found by someone who bought the contents of an abandoned storage locker, rented by one of Frey's daughters, Melanie, when their mother died. Attempting to track down lost master tapes, his other daughter Andrea Bass discovered the existence of the film in a chat forum for fans of her father and his company Audio Fidelity.

The museum said yesterday on Facebook that it will post a complete song from the film online tomorrow.

Death From Above 1979 to release live EP recorded at Third Man Records
Third Man Records is to release a new Death From Above 1979 live EP tomorrow, featuring a performance in the Jack White-owned label's Blue Room studio.

"We've always been wary of live recording experiences because they can end up so sterile and flat sounding and they hardly ever translate the feeling of the actual show. The feeling of the moment", say the duo.

"[However] when we were asked to record 'Live At Third Man Records' we agreed without hesitation. If there is one person who knows about feeling the moment, it's Jack White. He's the patron saint of vibes. We cut two 20 minute long sets straight to acetate. No second chances. Terrifying but alive. Third Man were such phenomenal hosts and the audience went bananas with us. It was such an honour to be a part of. The whole thing was such a rush, it almost feels like a dream".

"Oh yeah, Mick Jagger was there", they continue. "Did we mention that we went out to dinner with Jack and Mick after and then went bowling until 3am?"

No, you did not. I'm not sure this information is relevant to your live recording in the slightest, though. Disagreeing, they add: "It's also worth noting that Jack got the highest score followed by Sebastien. Mick and Jesse tied".

Nope. But you can listen to 'Right On Frankenstein' from the EP here.


Deerhoof announce magical new album
Deerhoof released a new song called 'Debut' earlier this week. Now they've announced a whole album, 'The Magic', out on 24 Jun, and another song, 'Plastic Thrills'.

Pondering the title and content of the album, drummer Greg Saunier says: "Maybe it came from the music we liked when we were kids, when music was like magic - before we knew about the industry and before there were rules - sometimes hair metal is the right choice. We all showed up in the mood to sing".

On the continuing 22 year history of the band, singer and bassist Satomi Matsuzaki adds: "I joined this band a week after I arrived in San Francisco from Japan. I hopped on a Muni bus to have a first meeting with Deerhoof. I got off at a wrong stop. I was lost and confused. They found me on a dark street corner after I called for help from a pay phone. Since then my adventure expanded. Deerhoof is a vehicle with four powered wheels that takes me through forest, desert and buildings. My life is adventure!"

Listen to 'Plastic Thrills' here.

Bowery Presents, Universal, Sub Pop, more

Other notable announcements and developments today...

• AEG Live has bought independent promoter Bowery Presents, according to Billboard. The company owns five New York venues, including the Bowery Ballroom and Mercury Lounge, as well as promoting shows around the US.

• Universal Music Group Nashville has a new Chief Operating Officer in the form of Mike Harris, who was formerly GM of the major's US label services unit Caroline. Harris says he "couldn't be more excited" about his new role chiefly operating Universal's Nashville business.

• Sub Pop's publishing business has a brand new Director Of A&R in the form of Gareth Smith, who previously worked at Big Deal Music in LA and before that BMG in London.

• Rihanna put out the video for 'Needed Me' yesterday "just because it's 420". Also probably because she and director Harmony Korine had gone to the effort of making it.

• Little Mix have released the video for 'Hair', featuring Sean Paul. Watch it here.

• Olga Bell has released the second single from her forthcoming new album 'Tempo'. That's out on 27 May. Here's the single, 'ATA'. You can also catch her live in the UK this June.

• Gaika has released a new mixtape, 'Security'. Check out the whole thing here, or listen to first single 'PMVD' here. You can catch him at Boilerroom tonight too.

• Wooden Arms have released the first track from their debut album, 'Trick Of The Light', which is due for release later this year. Listen to 'Burial' here.

• Andy Votel will be overseeing a tribute to composer Andrzej Żuławski as part of the Polish Film Festival tomorrow night. The event takes place at Rich Mix in Bethnal Green. More details here.

• Mitski will play a UK show at the Tufnell Park Dome in London on 6 Oct. That's bloody ages away.

Rich people remain rich, annual study of rich people finds
News just in, rich people are rich. Among musicians, Paul McCartney remains the richest, while Adele is now the richest female musician from the UK to ever live. Macca and his wife Nancy Shevell have added £30 million to their now £760 million fortune in the last year, while Adele has almost doubled hers to £85 million, according to the incoming new Sunday Times Rich List.

Andrew Lloyd-Webber is still number two on the musical rich list with £715 million, and he gets there without cheating by pairing up with a spouse or bandmates. If it weren't for Shevell's £150 million stake in her father's business, Lloyd-Webber would be right out in front. Other dirty cheats in the top ten are U2, who all together take the number three spot by claiming to be one entity, and George Harrison's widow Olivia and son Dhani Harrison, only one of whom is actually a musician. You people are the worst.

Other non-musicians in the list include Duncan Jones and Iman Abdulmajid, who come in at 29 with their own combined wealth and that which they recently inherited from David Bowie.

Adele actually comes in at number 30 in the overall list, but is again the richest musician under 30 years old. She's trailed by Ed Sheeran, who apparently now has £45 million in the bank. In third on the youngster musical money bags list are the members of One Direction collectively, despite losing the £30 million apparently owned by Zayn Malik from their total.

I should note too that while Adele is now the UK's richest ever female musician, she still trails behind Irish singer Enya, who has £91 million burning a hole in her pocket.

Anyway, here's the overall musical rich list top ten:

1. Paul McCartney and Nancy Shevell - £760m
2. Andrew Lloyd-Webber - £715m
3. U2 - £500m
4. Elton John - £280m
5. Mick Jagger - £235m
6. Olivia and Dhani Harrison - £220m
6. Keith Richards - £220m
8. Ringo Starr - £200m
9. Michael Flatley - £198m
10. Sting - £185m

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 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.
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