TODAY'S TOP STORY: Back in March this year, white label digital music provider Omnifone announced a new CEO and two new priority products. And for its next trick, the company was placed into administration this week. A message that appeared on the company's website yesterday reads: "On 4 May 2016, Omnifone Limited and Omnifone Group Limited were placed into administration in the... [READ MORE]
TODAY'S APPROVED: Drum n bass legends Total Science today release a compilation celebrating the 20th anniversary of their CIA record label. Can it really be that long? Who remembers their sterling remix of 'My Dreams' for London Elektricity? What a moment. Tonight they'll be marking the two-decade milestone and the release of 'CIA 20' at Lightbox in Vauxhall. Total Science themselves will be joined... [READ MORE]
BEEF OF THE WEEK: Now that the campaigning is over and Donald Trump is king of the world – or at least the man America's only slightly smirking Grand Old Party is now actually putting forward for the job of king of the world – it is surely time for everyone to take a breather and assess how the whole Trump political adventure has played out so far. In terms of music I mean. Because when it comes... [READ MORE]
TOP STORIES Omnifone placed in administration
LABELS & PUBLISHERS The Value Gap leads Canadian Music Week summit debates
Everything is up in latest PRS financials! Oh, including the costs
Mike Smith named MD of Warner/Chappell UK
LIVE BUSINESS Live Nation's Universe opens London office
Standon Calling announces partnership with Ticketmaster
RELEASES Beth Orton releases Twin Shadow collaboration 1973
GIGS & FESTIVALS Róisín Murphy to headline Shakespeare's Globe
Skepta to play album release shows at secret venues
ONE LINERS Crush Music, James Blake, Janet Jackson, more
AND FINALLY... CMU Beef Of The Week #304: Musicians v Donald Trump
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.
UK independent label Snapper Music seeks a graduate looking for experience in the music industry in a role to include sales, marketing and royalty accounting duties. A great opportunity for an entry level position in our central London office.

For more information including a full job description and how to apply click here.
An exciting opportunity has arisen for a talented and passionate music publicist to work in-house at AEI Media across our variety of global music brands and artists. We are looking for an independent, well-rounded individual with a strong creative streak and passion for electronic music, a nose for a unique story and a strong contact base.

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[PIAS] Artist & Label Services is looking for a new Label Manager to join the team. The successful candidate will have the proven experience and understanding of sales, marketing and distribution necessary to navigate the challenges of the modern music business, allied to a sound grasp of both physical and digital routes to market.

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Egg London is one of London's most established clubbing venues. We are currently looking for a Digital Marketing Manager to join our team in the Egg London office.

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Fast growing music PR agency is looking for a sharp Account Manager who loves PR and takes pride in doing a superstar job. You will require an encyclopedic music knowledge, a passion for clubs and gigs and be obsessed with popular youth culture.

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Listen Up provides a bespoke 360 promotional service offering radio, club, online and print campaigns in the UK and worldwide, consistently delivering results to clients in a diverse range of musical genres.

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Bigbox are currently looking for a part-time Junior PR Assistant to join us three days a week. This is a junior role, ideal for anyone looking to take the first steps in music PR and really get to grips with the inner workings of a press team.

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Live Nation Music UK is seeking a London-based Event Ticketing Manager to maximise ticket sales for Live Nation events by providing effective ticketing information and advice; and proactively managing inventory, ticket agents and allocations.

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We are recruiting a new radio plugger to join our expanding PR department. Working with both internal label and external clients, you will have a proven track record in national radio promotion and online PR experience is a plus.

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Fabric is looking for a self-motivated and proactive individual to join the press and promotions team as communications officer. Their main role will be to create and maintain the content across our communications channels and play a key role in the implementation of our marketing and press campaigns.

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Due to expansion we are recruiting an office assistant to complement our existing team. The role would suit a second jobber who has worked within the music industry ideally the live sector.

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The !K7 Label Group is looking for an experienced sales and marketing professional to help direct, implement and manage robust sales campaign and marketing strategies across multiple artist and label projects for both our in-house and partner labels.

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Your Army are offering a full time position working in our artist management division. The ideal candidate will have experience of working within a management company and an independent record label.

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Renegade Music are currently looking for a self-motivated and enthusiastic individual to assist our small team in all areas of club, student and retail promotions, based in our riverside offices in Barnes, London.

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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
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 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

Omnifone placed in administration
Back in March this year, white label digital music provider Omnifone announced a new CEO and two new priority products. And for its next trick, the company was placed into administration this week.

A message that appeared on the company's website yesterday reads: "On 4 May 2016, Omnifone Limited and Omnifone Group Limited were placed into administration in the High Court Of Justice, with Andrew Duncan and Neil Bennett, of Leonard Curtis Business Solutions Group, appointed as joint administrators. The affairs, business and property of the companies are being managed by the joint administrators, who act as agents for the company and without personal liability".

Omnifone has powered various digital music services over its thirteen year history for various brands, tech companies and tel cos, as well as some of its own offerings. Most of those have fizzled out with time, partly due to trends in digital music, and partly due to working for the sorts of clients which entirely overhaul their music strategies every few years.

But amongst those companies still utilising Omnifone services as of 2016 were Neil Young's silly Pono Music download platform, and the latest in a long line of Samsung music set-ups, Milk Music, which, rumour has it, is soon to be shut down.

Then, of course, there was Omnifone's own in-house streaming service, which was launched in 2011, later spun off into its own business, and then put up for sale in February last year before being shut down a month later.

Rara was seemingly an attempt by Omnifone to have a brand of its own, outside the often short-lived projects it worked on with other companies. But, even though the attempted sale in 2015 was spun as Omnifone simply setting the service off on the next phase of its existence - while it got back to its core B2B business - the speed of the subsequent shutdown suggested there wasn't much of a userbase to sell.

A big knock to Omnifone itself came in January last year when the Sony streaming service it powered, Music Unlimited, was closed and replaced on the Playstation Network by Spotify. A dwindling client base – coupled with a general trend amongst tel co and consumer electronic firms to bundle in existing streaming services rather than setting up their own white label ventures – suggested that the Omnifone business was entering tricky times. Its last big partnership announcement was in October last year with Line Music, to provide western music to the Japanese streaming service through its MusicStation platform.

In March, COO Doug Imrie was promoted to become CEO of the company, replacing Jeff Hughes who had held the role since April 2010. Amidst talk in the industry that Omnifone's greatest asset as of 2016 was the database of music rights it had built up over the preceding decade, Imrie's first move was to announce two new music data products, consumption reporting tool Global Metering Hub and "music information retrieval platform" Acoustic Lab.

The company's losses grew considerably from 2011 to 2014, while revenues began to fall in the latter year. Accounts for 2015 have not been filed, but this trend probably continued. Companies House records also show that two of the company's three founders - Rob Lewis and Mark Knight - resigned as directors last month, and also that the company increased its borrowing.

What can now be salvaged of the company remains to be seen, of course, with administrators charged with the task of deciding whether to try and keep the business together as a whole, or to seek buyers for its constituent elements, such as the aforementioned MusicStation platform and the music data assets.

What all and any of this means for Omnifone's existing clients, current licensing deals with labels and publishers, and its workforce, remains to be seen.

The Value Gap leads Canadian Music Week summit debates
Good news for fans of safe harbour griping, The Value Gap was the headline act as the Canadian Music Week music summit got underway in Toronto yesterday, with the bosses of record industry trade groups IFPI and BPI – Frances Moore and Geoff Taylor - battling it out to see who good deliver the most startling stat and the boldest bluster.

Taylor got off to an early lead, armed, as he was, with a superior take-away statistic. Streaming music is damn bloody exciting, he said (basically), and the growth of fine streaming set-ups like Spotify and Apple Music is fuelling new growth in the recorded music market, which enables labels to invest in some of those new artists people seem to like. In fact the number of people streaming music in the UK doubled last year, he said, resulting in a 70% increase in payments into the record industry.

But that was audio streaming. As for "video streaming" (aka fucking YouTube), well that nearly doubled in the UK as well last year, but the increase in revenue? Fuck all. "While UK streams of music videos almost doubled the revenues paid to labels flat-lined, rising by less than half of one per cent". This disparity, says the BPI, "neatly encapsulates the market distortion characterised as The Value Gap".

And if YouTube dares step forward one more time with the claim it's a loss-making service that exists to help artists engage consumers worldwide as they build their direct-to-fan businesses, well, fuck that, what about all the data Google pulls off its video consumption platform?

"[Music] is being treated like a commodity to be strip-mined for big data", Taylor told the CMW audience. YouTube and Google are fine innovators, he added, but they are "showing little respect or love for music or for the people who create it. [They are instead] using safe harbours like royalty havens, to avoid paying fairly for music when goodness knows they can afford to do so".

Bold words Mr Taylor. But don't be thinking your win here is assured. Let's see what Ms Moore had to say first. The Value Gap, says she, "is the missing beat at the heart of our industry. It is the structural flaw in our marketplace. If it is fixed, I believe we will be looking at a future of sustainable growth for our sector for many years".

Fix it then, why don't you? Oh, "the value gap is not something our business can fix". Touché. "It is for policymakers to legislate. It is a legislative issue caused by the misapplication of the so-called liability 'safe harbours' to user-upload services. This, quite simply, allows them to negotiate music licences in a way that is grossly unfair and devaluing of music. As a result they have an unfair advantage over other digital services, as well as depriving artists and labels of fair revenues".

Noting the recent rally call against those pesky safe harbours in the US - which has been joined by a number of prominent artists - and which follows prolific lobbying on the issue in Europe, Moore declared: "In Europe there will be legislative proposals to address The Value Gap later this year. A study on the Digital Millennium Copyright Act is under way in the US". Word is spreading about The Value Gap, Moore added. "One real cause for optimism in 2016 is that this [problem] is now beginning to be understood and articulated across our sector. And more importantly, by the policymakers to whom we look to deliver change".

Bold words Moore. But bigger and better that Taylor's stats? Who do you think won? Do you want do know the final score? Are you ready for the punchline? Well, as old timers may remember, home taping killed music, so there's no record industry left, the IFPI and BPI don't exist, and this entire news story is a figment of your imagination.


Everything is up in latest PRS financials! Oh, including the costs
UK song rights collecting society PRS has announced its financials for 2015. And good news everybody, revenues were up 7% to a record high of £537.4 million. Money distributed to the society's songwriter and publisher members was up 8.4% on 2014. And running costs were up too! Who doesn't like an increase?

Says PRS top bloke Robert Ashcroft: "Our numbers for 2015 reinforce PRS's position as a global leader in collective rights management and our commitment to delivering increasing value to our members. Our revenue growth is fuelled by the strength of the repertoire we represent and the dedication of our people who are critical to our success. As we modernise our operations, our performance will continue to showcase PRS as one of the most efficient collective rights management societies in the world".

Wondering about those cost increases? Well, Aschroft has an answer for that. "We have had to invest to secure this impressive revenue growth and to position PRS to respond to an increasingly competitive marketplace. With a major joint venture with PPL, the commencement of a new digital transformation programme and some exceptional litigation costs in support of landmark licensing deals, PRS is making positive steps to deliver real value to its members".

And, he argues, "these initiatives resulted in a relatively modest increase in underlying cost, mostly due to an increase in depreciation charges, but this was significantly outweighed by real, underlying growth in revenues and we are proud of our 2015 results in every way".

Good times. If you wondered, online income was up 12.8% to £42.4 million, broadcast money was up 4.1% to £124.2 million, while public performance revenues rose by the same percentage amount to £175.2 million. And assorted international income was up 10.4% to £195.6 million on a constant currency basis.

Though fans of general developments in the British collective licensing framework (and hello to all you fans of general developments in the British collective licensing framework) might be more interested by the fact that this year's stats pack from PRS does not include income generated by the collective licensing of the mechanical rights in songs, which PRS For Music administers on behalf of the UK publishing sector's separate mechanical rights society MCPS.

MCPS, of course, has been more proactive as a standalone organisation this last year, as it further distances itself from its former joint venture arrangement with PRS. And while PRS continues to do most of the legwork for MCPS, the latter recently put all its operations up for tender, so that could change next year. It probably wont', but the fact MCPS will now issue its own separate financials is a sign of the body's growing independence from its former business partner.


Mike Smith named MD of Warner/Chappell UK
The UK division of Warner's music publishing business, Warner/Chappell, has announced Mike Smith as its new Managing Director. The appointment sees him return to music publishing after a decade working over at those pesky record labels.

"Throughout his brilliant career, across both music publishing and recorded music, Mike has demonstrated his commitment to the art of songwriting, putting great songs at the heart of everything he does", says overall Warner/Chappell CEO Jon Platt. "His inspiring leadership style, thoughtful approach to building creative careers, and unquenchable thirst for new music all make him ideally suited for Warner/Chappell".

He continues: "Now more than ever, the British music scene is producing a THRILLING depth and diversity of world-class talent. With Mike overseeing our UK operations, we will be even more powerful as a global destination for the most distinctive, popular, and culturally significant songwriters in the world".

Smith himself adds: "Having started my career in music publishing, it is exciting to be returning to a sector of the industry where I enjoyed so many great times. Warner/Chappell is one of the real icons of music publishing, and it is an honour and a privilege to have been asked to help guide this great company and the amazing songwriters and catalogues it represents. I'm really looking forward to working with Jon and the rest of the global team".

Smith joins Warner/Chappell from Universal's Virgin EMI label business, where he was President Of Music, a role he took on in 2012 while the company was still Mercury Records. His first record industry job was with Columbia Records ten years ago, but his career began as a talent scout for MCA Music Publishing, moving to EMI Music Publishing in 1992, where he eventually became Head Of A&R. His new gig means he's know worked for all three of the major music publishers, which I think means he gets six free whisky tumblers.

Live Nation's Universe opens London office
The DIY ticketing business Live Nation acquired last year, Universe, is opening its first European office by setting up a base at the London HQ of its parent company's main ticketing unit Ticketmaster.

"It is an exciting time for growth within the UK and European market", said Universe CEO Ben Raffi recently, when confirming the new London base. "Our technology and tools have been extremely well received in Canada and the US with over 31,000 event organisers using our platform to sell tickets. Expanding our international presence is the next step for us as we continue to disrupt the event industry".

Ticketmaster International President Mark Yovich also bigged up his new tenants, adding that "we're looking forward to having the Universe team here in London. We'll be working closely with them to offer their unique event ticketing solutions to event organisers across the UK and Europe".

The new office will be headed up by Joseph McAuliffe, the company's existing Director Of Business Development, who transfers to London after two years based in San Francisco.


Standon Calling announces partnership with Ticketmaster
Live Nation's Ticketmaster UK announced a new two-year deal with independent festival Standon Calling earlier this week. This follows the addition of a fourth day to the beginning of this year's event, focussed on food rather than music. Ticketmaster will provide Standon Calling with its own branded white label platform through which to sell tickets, as well as offering them through the main Ticketmaster site.

"Working with Ticketmaster gives us the confidence to know that we have access to fantastic marketing reach ahead of the festival, and an experienced team on site at the event", says Standon Calling founder Alex Trenchard. "Being able to sell our tickets seamlessly through our own branded site is hugely important to us and it's great to have found a solution that fits so well with that".

Ticketmaster UK MD Andrew Parsons adds: "This partnership underlines our commitment to working with clients across the board, including independent festivals. Standon Calling has grown from strength to strength over its ten-year history and we look forward to helping them achieve their goal of reaching even more fans going forward".

  Vigsy's Club Tip: CIA 20 Album Launch Party at Lightbox
Drum n bass legends Total Science today release a compilation celebrating the 20th anniversary of their CIA record label. Can it really be that long? Who remembers their sterling remix of 'My Dreams' for London Elektricity? What a moment.

Tonight they'll be marking the two-decade milestone and the release of 'CIA 20' at Lightbox in Vauxhall. Total Science themselves will be joined by Digital, Zero T, Invaderz, FD and other friends of the Computer Integrated Audio label. With MCing from Conrad, Blackeye and Bassline, prepare from some tough beats and bass.

Friday 6 May, Lightbox, 6A S Lambeth Place, Vauxhall, London, SW8 1SP, 11pm-7am, £12.50+. More info here.

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Beth Orton releases Twin Shadow collaboration 1973
Beth Orton this week released the video for new single '1973', which features guitar work from Twin Shadow. The track is taken from her forthcoming album 'Kidsticks', which is out through Anti- on 27 May.

The video was created by photographer and director Tierney Gearon, of whom Orton says: "As soon as I saw Tierney's work I knew she would be perfect for 'Kidsticks'. I love her use of colour and her layering of images. During the writing of the record I experienced different realities running consecutively. The idea of identity lost and found runs throughout the record. '1973' plays with this idea of memory and reality".

"There's a surreal nature to Tierney's work that I love, as well as her use of the Californian landscape and light", she continues. "When Tierney and I met we decided to do the album artwork and also shoot footage too. Not in the way of a pop video but more as she might an art piece".

"The video has been edited together by Deborah Johnson of CandyStations, who works a lot with live projections. We plan to build on all the footage Tierney shot over the course of many meetings and make it a part of the live show. I want there to be a thread that runs through the record visually as it does musically".

Watch the video for '1973' here.

Róisín Murphy to headline Shakespeare's Globe
Róisín Murphy is set to play the first ever contemporary music show to be staged at Shakespeare's Globe Theatre in London.

The show will follow the release of Murphy's new album 'Take Her Up To Monto', which is released through Play It Again Sam on 8 Jul. Of the record, she says: "It's about the London that I live in. It's a lot about architecture, it's about building and the future coming, it's about here. I hope it's a realism that makes you feel good about being alive".

She will headline the main Globe theatre on 15 Aug as part of a series of concerts under the banner Wonder Women, curated by Lauren Laverne and culture website The Pool. All other artists will play in the building's smaller Playhouse venue.

Tickets available here.


Skepta to play album release shows at secret venues
Skepta is busy bigging up a short run of UK live dates to mark the release of his new album 'Konnichiwa', which is released today. The shows will take place in London, Birmingham, Glasgow and Manchester, with venues still to be revealed.

Dates as follows:

8 May: London
10 May: Birmingham
11 May: Glasgow
12 May: Manchester

Watch the video for 'Man' from the album here.

Crush Music, James Blake, Janet Jackson, more

Other notable announcements and developments today...

• Following the launch of its joint venture label with Warner Music earlier this year, Crush Music has hired Alisann Blood as Head Of Partnerships. She joins from Capitol, where she held a similar title. "First class", says CMO Dan Kruchkow.

• Does the world need a fourth 'Sharknado' movie? Does the fact that Slipknot's Corey Taylor is going to be in it change your mind?

• James Blake's only gone and released a new album, 'The Colour In Anything'. Boom, just like that. Listen to it, if you like. Here's a song from it, 'Radio Silence'.

• Janet Jackson has released a video for 'Damnn Baby', which you can read any number of ways, given the rumours that she is now pregnant.

• Red Hot Chili Peppers will release new album 'The Getaway' on 17 Jun. Here's first single 'Dark Necessities'.

• Tegan & Sara have announced a second London show at Koko on 23 Jun, after the first sold out in no time. They've also released a video for previous single 'U-turn' and released a new single, '100x'.

• Metal bands Behemoth and Dying Fetus granted a fan his dying wish and scattered his ashes in their mosh pits during performances this week. So... yeah.

• Hey! Check out all the new music featured in CMU Daily this week in this Spotify playlist (updated every Friday).

CMU Beef Of The Week #304: Musicians v Donald Trump
Now that the campaigning is over and Donald Trump is king of the world – or at least the man America's only slightly smirking Grand Old Party is now actually putting forward for the job of king of the world – it is surely time for everyone to take a breather and assess how the whole Trump political adventure has played out so far. In terms of music I mean. Because when it comes to the presidential hopeful's choices of soundtrack, it's been a right old time.

This week, The Rolling Stones became the latest act to take exception to Trump's use of one of their songs at a political rally. "The Rolling Stones have never given permission to the Trump campaign to use their songs and have requested that they cease all use immediately", the band said in a statement.

It's a familiar collection of words by now. Numerous artists have put out similar statements during the primary campaign, distancing themselves from Trump after he used their music to whip up excitement amongst his fans as he toured the good old US of A. The statements have come short and fast, as musicians try to make sure everyone knows that, just because their tunes are accompanying the Trump, they're definitely not endorsing the chump.

As much as it's seemed like this has happened an awful lot to Donald Trump, musicians getting angry with politicians for using their music isn't new. In 2008, presidential hopeful John McCain prompted as many, if not more, angry statements, and became embroiled in a lawsuit with Jackson Browne (which was later settled out of court). And there were those legal battles between David Byrne and Florida Governor Charlie Crist and Eagles frontman Don Henley with Republican politician Chuck DeVore in recent years.

But where things went legal, it was usually because the offending politicians had made the mistake of including music in online campaign videos without permission. That constitutes a sync, which requires a specific licence in the US, and where no such licence had been sought there was a case for litigation. Chuck DeVore rewrote Henley's lyrics and sought protection under the parody right that comes with the fair use provisions in US law, though it turned out that right didn't extend far enough to help the political man.

Trump has been smarter though, using big, recognisable songs as his entrance music at rallies, but ditching them as soon as there's a complaint, and before anyone has thought to include them in a campaign video.

Use of all of these songs will be covered by blanket public performance licenses granted by collecting societies ASCAP and BMI (on the song side, on the recordings side there isn't a general performing right in the US, so no permission is required at all). And withdrawing songs from the ASCAP and BMI blanket licences would deprive songwriters of income from radio, live and other public performances, which probably isn't worth it just to ensure you never get associated in anyone's brain with Donald Trump (just).

There is a possibly an argument that, under US law, a politician using a song in a way that associates an artist with their cause might infringe said musician's publicity and privacy rights. Well, that was an argument used by a legal rep for Aerosmith's Steven Tyler earlier this year when he took offence at Trump using his music. Though that argument was just set out in a cease and desist letter, and Trump ceased and desisted, so it hasn't been tested in any real way.

Which basically leaves artists with just one option when they suddenly find themselves soundtracking a political cause they find offensive: the angry statement. And angry statements from popular musicians can be sufficient to tarnish a politician's own rep. Charlie Crist's apology to David Byrne as part of his settlement is a particularly sad affair.

Except, of course, things far worse than an angry popstar have failed to tarnish the Trump brand in anyway during the battle to secure the Republican presidential nomination, so that sanction hasn't proven so effective this time round. Indeed, part of the reason there has been so much coverage of Trump's battles with musicians in recent months is his willingness to come back with a biting quip of his own. And biting quips are what his supporters like.

"Even though I have the legal right to use Steven Tyler's song, he asked me not to", said Trump following the cease and desist. "Have better one to take its place! Steven Tyler got more publicity on his song request than he's gotten in ten years. Good for him!"

"Nine times out of ten, it's a young advance person who thinks it's a cool song to play when the guy's walking in and the candidate hasn't a clue what was playing", campaign manager for Howard Dean's 2004 presidential bid, Joe Trippi, told Rolling Stone earlier this year, after Trump's first musical run-in with Neil Young. "In this case, Donald Trump could have walked in that room: 'I want that Neil Young song, and it better be playing loud'. But I don't know".

Even if Trump had had no idea what was playing as he walked up to the stage, he certainly acted like he did when Young got angry about it, attempting to throw the negative spotlight back onto the musician, saying: "A few months ago Neil Young came to my office looking for $$ on an audio deal and called me last week to go to his concert. Wow... total hypocrite". He then started a familiar trend, saying that he'd stop using 'Rocking In The Free World' at his rallies because he "didn't love it anyway".

In the case of The Rolling Stones, Trump had been using their song 'You Can't Always Get What You Want' throughout his campaign, though it was only when he took to the stage at Trump Tower in New York on Tuesday to the sounds of their 1981 song 'Start Me Up' that they noticed he was apparently a fan.

Like all the others, their request for him to stop using their music will presumably be heeded. But assuming there's no sudden coup against their presumed nominee by the Republican Party establishment, and Trump therefore does go forward as their actual presidential candidate, there are plenty more artists he can piss off as he gets into the election campaign proper. Don't forget, this won't be over until November.

Meanwhile, away from the music, Trump has hit back at claims he is just an over-privileged fat cat who trades on a name and fortune built up by his father rather than his own business sense. He's had it tough, says he. He's had to make scarifies. "I've given up a tremendous amount to run for president", Trump told CNN earlier this week. "I gave up two more seasons of 'Celebrity Apprentice'".

And in a way, I think we all have.

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 (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.
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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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