TODAY'S TOP STORY: Credit where it's due, veteran artist manager Irving Azoff was a pioneer when it came to YouTube griping, publicly laying into the Google video site's approach to music licensing long before it was the fashionable thing to do in music circles. Hell, he even set up his own performing rights organisation in part to address issues with the way YouTube pays royalties (or not)... [READ MORE]
TODAY'S APPROVED: Having released her debut EP and album in France last year, Jain is turning her attention to the UK with her first shows here this month at The Great Escape in Brighton. Influenced by a childhood spent in Dubai, Congo, Abu Dhabi and more, Jain's music is driven by a vibrant blend of rhythms. The lead track of her 'Hope' EP - 'Come' - is cool French indie-pop dragged... [READ MORE]
TOP STORIES Irving Azoff lays into YouTube's key arguments in ongoing safe harbours battle
DEALS Blue Raincoat Songs adds Rickie Lee Jones to its roster
LABELS & PUBLISHERS Sentric unveils expanded Music Services division
BRANDS & MERCH Hyundai signs on to sponsor Mercury Prize
DIGITAL & D2F SERVICES Spotify unveils original video content commissions for 2016
THE GREAT ESCAPE CMU@TGE Previews: Building a more skilled music industry
GIGS & FESTIVALS Bestival launches new festival at Goldsmiths University
Good news! Steve Mason is going on tour
ONE LINERS Universal, Bruno Mars, SoundCloud Go, more
AND FINALLY... ​Bieber's face tattoo reminds us that he is our saviour
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.
Ministry Of Sound requires a Licensing Executive to license and clear tracks (both third party and our own tracks) for our compilations within the required deadline, and looking after all the administration in respect of those albums.

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Vevo, the world's leading platform for music entertainment, is in search of a Social Media Manager to join us in our exciting Editorial department. You’ll be joining one of the leading online music platforms that receives over seventeen billion monthly views and you could be at the forefront of driving our brand.

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The Promotion Manager’s role is to co-ordinate, arrange, manage and support the promotion of artists being released by Nettwerk UK, wherein one or more aspects of the promotions are not being handled by external third parties.

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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.

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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 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.
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

Irving Azoff lays into YouTube's key arguments in ongoing safe harbours battle
Credit where it's due, veteran artist manager Irving Azoff was a pioneer when it came to YouTube griping, publicly laying into the Google video site's approach to music licensing long before it was the fashionable thing to do in music circles. Hell, he even set up his own performing rights organisation in part to address issues with the way YouTube pays royalties (or not) to publishers and songwriters.

With the American music industry at large laying into YouTube with increased frequency, volume and vitriol in recent weeks - mainly because the US Copyright Office is reviewing the safe harbours of copyright law that allow the video site to run an 'opt-out' rather than 'opt-in' streaming service - Azoff has published an open letter via tech site Re/code responding to some of the ways in which YouTube, and its Head Of International Music Partnerships Christophe Muller, have defended their approach to music in recent weeks.

Starting off by saying that "you say that music matters to YouTube, [but] there is an old adage about actions and words", Azoff notes that - via its Red subscription service - the Google business now has its own original content that it wants to keep off the freebie level of the video site. And it seems to manage to do that just fine, Azoff reckons. So why won't it give labels and artists the same power over their original content?

"If YouTube valued music, then it would allow artists to have the same control which YouTube grants to itself. YouTube has created original programming. Those programmes sit behind a 'paid wall' and are not accessible for free unless YouTube decides to make them available that way. If a fan wants to watch the YouTube series 'Sister-Zoned' that fan has to subscribe to YouTube Red for $9.99 a month. But the same does not apply to music".

He goes on: "If music matters to YouTube, then why not give musicians the same choice you give yourselves? Taylor Swift should be able to decide which of her songs are available for free and which are part of a paid subscription service. Or she should be able to opt out of YouTube if you won't give her this choice. But artists can't opt out of YouTube. Because of the outdated Digital Millennium Copyright Act, the only way for an artist to keep a song off YouTube is for that artist to send YouTube a notice every time that song is uploaded by a different user. It is impossible".

But what about YouTube's rights management system Content ID, designed to help rights owners keep content off the video site with minimum effort? Well, Azoff's thought about that. "The Content ID system that you flaunt is meaningless when YouTube continues to hide behind the 'safe harbour' provisions of the DMCA", says he. "If YouTube cares about copyright management then join the music business in its efforts to reform the DMCA. Or, better yet, you could really prove your love for music by not allowing music on to YouTube unless you ask the creators of that song for permission".

Noting that YouTube has previously said that, beyond Content ID, it can't police the constant flood of content being uploaded to its servers, Azoff adds: "Before you tell me that you can't control what is uploaded to YouTube, let me say it seems clear that YouTube can control the content on its platform when it wants to do so: It controls its own series programming, and it limits offensive content like pornography. It certainly monitors what people are listening to on YouTube and provides that information to advertisers".

Azoff then notes an argument recently put forward by YouTube that it's unfair for labels and artists to compare the royalties they receive from the Google service with those of premium subscription set-ups like Spotify or Apple. With the promo potential of its platform, YouTube would prefer to be compared to radio, which has always paid much lower rates (and in the US continues to pay nothing at all to the labels).

But that's not a fair comparison, says Azoff, and if you can't make music on an ad-funded YouTube work at the industry's desired royalty rates, perhaps that's because you've got the wrong business model. "You say it isn't fair for an artist to compare what they make from Spotify to what they make on YouTube because they are different services. From a fan and artist perspective, they provide the same service - on-demand, streaming music".

"It is true that YouTube has a different business model", he concedes, but only with this big but: "That was not the artist's decision. It was YouTube that decided to invest in an ad-supported platform. If an ad-supported streaming service doesn't generate enough revenue for YouTube to pay artists at rates which are comparable to Spotify or Apple, then maybe it isn't a good business".

Finally, Azoff lays into YouTube's other key argument, that it is paying decent monies into music, but artists don't see it because of those pesky middle-men. "You can blame the labels and publishers - I know how easy it is to take shots at record companies and publishers - I have been doing it for years. But the root of the problem here is you: You have built a business that works really well for you and for Google, but it doesn't work well for artists. If you think it is just the labels and publishers who are complaining, you are wrong. The music community is traditionally a very fractured one, but on this we are united".

It is certainly true that the YouTube issue of today has rallied together strands of the music business which don't always see eye-to-eye, including labels, publishers, managers, artists, songwriters and collecting societies, including both major and independent players.

Though behind the scenes not everyone is entirely on message, in that most agree that there are issues with YouTube and Content ID, but not everyone is so convinced that safe harbour reform is the way to address these issues, even if it could be achieved. Younger managers and label execs, in particular, see a multitude of under-tapped opportunities on the YouTube platform that could be enhanced for everyone's benefit, and probably will be once the current war of words has fizzled out.

Still, Azoff's voice is influential, and will be a useful ally for the record labels and trade groups still hoping to persuade policy-makers - in Europe if not the US - to put more liability onto YouTube over the content on its platform by reforming safe harbour laws.

Blue Raincoat Songs adds Rickie Lee Jones to its roster
Newbie music publisher Blue Raincoat Songs has signed a deal with Rickie Lee Jones which gives it a "substantial stake" in the veteran singer songwriter's works, namely her Structurally Sound Publishing, Easy Money Music and Duck Kill Duck Publishing catalogues.

Says Jones: "The greatest gift a publisher can give a writer is to keep their music circulated generation after generation. This can only be accomplished if the publisher truly loves the catalogue. Those sonic angels do not die just because someone plays it while you look at shoes. Trust, you know, that's what it's all about. I look forward to the beginning of a beautiful partnership, and hearing my music all over the place".

Former Chrysalis boss and Blue Raincoat co-founder Jeremy Lascelles adds: "The moment in 1979 when I saw that iconic photograph of Rickie Lee Jones in a beret, I thought this must be the coolest girl on the planet. I immediately fell in love with her music as well. This collection of songs is one of the finest of its genre, a treasure chest of gems. It is an extraordinary privilege to be able to look after and nurture it and to work hand in hand with Rickie in finding new opportunities to preserve and enhance her catalogue's value".

Sentric unveils expanded Music Services division
Sentric Music, best known for providing tools to help new songwriters better administrate their copyrights, is expanding the sync side of its business by adding original composition and production music services.

Sentric has quietly become a significant independent player in the sync space, giving emerging talent access to the sync market, and vice versa. Having expanded its more conventional sync services of late, Sentric has now also unveiled a roster of "hand-picked composers, producers and artists" who are available for original commission projects from the worlds of TV, film, gaming and ads.

It's also made public a new production music library called Masstrax, which provides pre-cleared music to TV producers which is, crucially, cleared for global use. The library, says Sentric, "includes tracks from internationally renowned acts that are currently receiving radio airplay". The likes of BT Sport and Channel 5 are already using the service.

Says Sentric's Simon Pursehouse about the stepped up Music Services division: "The sync department here at Sentric has always been punching above its weight in what is an outrageously competitive market. For years we've been seen as a gateway to some of the best emerging music the UK has to offer, having landed placements for artists such as Bastille, Coasts, Eliza & The Bear, Catfish & The Bottlemen and plenty more long before they became the names they are today".

But, he adds: "The launch of Sentric Music Services shows we're capable of much more than that, thanks to our extensive catalogue of chart topping tracks and household names, our roster of bespoke, genre-spanning composers and our new Masstrax library".

Hyundai signs on to sponsor Mercury Prize
The Mercury Prize has a new sponsor, having been without a brand partner last year, resulting in a stripped back awards show that felt much more like a BBC TV programme than a major awards event.

But Hyundai is now on board as sponsor for 2016, meaning there'll be a bigger finale bash, which is due to take place at the Hammersmith Apollo in September. There'll also be some new elements to the proceedings, in particular a public poll after the initial shortlist of twelve albums is announced in August, so that some of those music fans we keep hearing about these days have a say on what is deemed the greatest British/Irish album of the year.

Which sounds like a terrible idea to me, but don't worry, a panel of so-called experts will still pick the overall winner. And this year's judging panel will seemingly have far more music-makers involved than in the past, including Jarvis Cocker, Kate Tempest, Jamie Cullum, Naughty Boy and Ellie Rowsell from Wolf Alice.

A public vote and more celebs on the auspicious judging panel? It's almost as if Team Mercury have been meddling with the methodology to make the whole thing more big-bucks-brand friendly. The former marketers of the late great Mercury Telecommunications would be well proud.

"2016 marks the start of a new era of innovation for the Mercury Prize, as we begin a dynamic new partnership with Hyundai", says Mercury Award MD Dan Ford. "We are particularly excited about the evolution of the judging process, including the introduction of a diverse new panel and a fan poll. The changes will enable music fans to play a part in the process for the first time, whilst ensuring that the Prize maintains its reputation for celebrating the best British and Irish albums, based solely on artistic merit".

Meanwhile the marketing man from Hyundai, David Pugh, said: "Hyundai Motor is proud to be part of the continuing history of the Mercury Prize as its new title sponsor. We love the fact that this strong and relevant partnership reflects the pioneering spirit of our brand by celebrating and promoting innovation in music, bringing the best of the UK and Irish scene to the world".

Pioneering spirits all round, I say.

Spotify unveils original video content commissions for 2016
A new Radiohead album just streaming away like it's 2009? Spotify is having none of it, thank you very much, it's all about original video content in 2016, preferably with twelve top concepts incorporating performances, pop culture, music culture, animation and musical storytelling. And all the better if no one really knows what half of that means.

"We are developing original content that is rooted in music, pop culture, and animation that is driven by the passion and sense of humour of our audience", said passionate gag-meister and Spotify's Global Head Of Content Tom Calderone yesterday. "We are working with artists, producers and partners who understand that the Spotify audience has a strong connection to artists and wants to go deeper into their worlds, see their performances and expressions, and hear their stories".

Ah stories. I read a story once. Thought it was overrated. But then it was 2009 and I was listening to a Radiohead album at the time.

Whereas now, it's 2016, and I'm just sitting here wondering when exactly I'll get to see two hip hop artists - one legend, one young buck - picked up in a van in the height of the LA rush hour, forced to rework one of their well-known tracks while in transit, before performing it to some super-fans in a car park. And if you're wondering that too, the answer is this summer. Or possibly autumn. This year, though, that's for sure.

And if you think that there new Spotify show - 'Rush Hour' - sounds exciting, wait until you hear about 'Landmark', 'Drawn & Recorded', 'Life In Short', 'Trading Playlists', 'Singles', 'Rhymes & Misdemeanors', 'Ultimate/Ultimate', 'Generations', 'Public Spaces', 'Flash Frame' and 'Focus On'. I'd tell you about them all now, but I'm not sure you'd be able to survive the excitement. Plus I'm too busy installing Tidal so I can listen to the new Radiohead record. But hey, original video, Spotify, woo!

CMU@TGE Previews: Building a more skilled music industry
We are now just over a week away from this year's edition of new music festival The Great Escape which, once again, will feature the CMU Insights @ The Great Escape conference at the heart of its convention programme. Each day in the CMU Daily, CMU Business Editor Chris Cooke is previewing the sessions we will present this year - and today we start to look at the full-day strand 'What Has The Music Industry Ever Done For You?'

A few years ago at The Great Escape we had a discussion on how the music industry might better educate the wider world about copyright, noting that whenever there was a move for more anti-piracy legislation, some vague commitments to educating the masses were usually thrown in for good measure. Yet such copyright education programmes were either lacking or lacklustre.

One conclusion of the session was that a lot people working in music have little to no real knowledge about how copyright works and why it exists, with panellists noting that if the industry couldn't even educate its own people, what hope did it have for the wider world? Now, I'm biased here, because we are a company that provides music copyright training to music companies, but I think it was a sound conclusion to the debate.

And it's an issue that remains. Training is often way down the priority list in the music industry, professional development programmes not sounding especially rock n roll. But when you have an industry in flux - like this one has been for fifteen years now - only knowing about the bit of the business where you have hands-on experience is a big weakness, which arguably contributed to the record industry's significant slump as the forced shift from physical sales to a digital consumption business model got underway.

Of course, these days, those starting out in the music industry are much more likely to have had some sort of music business education, thanks to higher education courses that simply didn't exist during the record industry's CD heyday. Though are these courses actually providing new industry talent with the knowledge they really need? And is that knowledge any good without hands-on experience? And where educators are getting it right, does it create a perverse situation where those at the bottom of the music industry hierarchy are actually better equipped to navigate the new music business than those at the top?

As you can probably tell, this is something I think about quite a lot. And it's something I talk to educators and recruiters in the music industry about quite a lot too. Based on those conversations I'll be presenting some thoughts next week on what skills and knowledge the music industry needs in 2016, whether music business courses are achieving that at entry level, and what music employers should be doing to ensure those higher up the hierarchy understand about music rights, evolving artist deals and the wider music industry.

But it won't be just my thoughts on stage. Joining us to dissect what I say, and offer their own insights, will be Christine Goody and Alice Roberts, respectively representing the HR teams of Sony Music and the Royal Albert Hall, plus manager and educator Phil Nelson from BIMM and, providing an international perspective, Australian promoter and manager Maggie Collins.

'Building a more skilled music industry' takes place on Friday 20 May at 12.15pm in Dukes @ Komedia 2 as part of the full day CMU Insights strand 'What Has The Music Industry Ever Done For You?' Full strand info here. Full delegate passes here. Conference only tickets here.

  Approved: Jain
Having released her debut EP and album in France last year, Jain is turning her attention to the UK with her first shows here this month at The Great Escape in Brighton.

Influenced by a childhood spent in Dubai, Congo, Abu Dhabi and more, Jain's music is driven by a vibrant blend of rhythms. The lead track of her 'Hope' EP - 'Come' - is cool French indie-pop dragged onto the dancefloor and forced to drop its straight-faced façade. A strong personality comes through in all four tracks on the EP, along with an infectious sense of fun.

You'll be able to catch her twice at TGE on 19 May, at 3.30pm at the Queens Hotel and then 9.15pm in the Panganini Ballroom.

Watch the video for 'Come' here.

Stay up to date with all of the artists featured in the CMU Approved column in 2016 by subscribing to our Spotify playlist.
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Bestival launches new festival at Goldsmiths University
Bestival has announced another new festival, this one in partnership with Goldsmiths University in London.

Held at the college's New Cross campus, Bestival At Goldsmiths will feature a collection of music performances, talks and street food. My three favourite things. Though only because all things in the world basically fall into one of those three categories. Shush, yes they do. No, they do. They do. Yes. Yes. No, you're wrong, they do. Maybe we should have some sort of debate on this at the festival. I will win.

"What a fantastic collaboration for us", says Bestival's Rob Da Bank. "Josie and I met at Goldsmiths when we were young and reckless eighteen year olds and had an amazing four years there together hatching many of the creative plans and madcap ideas that have forged our careers in party-starting and mass gathering creations. We're very proud to come back a few years later with some of our musical mates and some inspiring talks and performance. I hope you can join us".

Well I'll obviously be there for the aforementioned 'everything fits into those three categories' debate. Performers will include Rosie Lowe and Ghostpoet, and it'll all go down on 17 Jun. Here's a website.


Good news! Steve Mason is going on tour
Steve Mason is going on tour, which is good news because Steve Mason is good news. His latest album is also good news. Have you heard it? Good, I'm glad. Listen to it again now. His other albums are good news too. You know that. Good news.

"Now seemed like a good time to sort another run of shows out but this time go deeper into some of the places I've either never played or have not played in a while", says Mason of the tour. "I have formed an elite snatch squad from my band - a three-piece band made up of drums (Greg), bass (Bodge) and me, we will be performing various songs I have written over the years but mainly from the last three albums".

"EXPECT US", he adds loudly.

Here is where to focus your expectation:

6 Oct: Liverpool, Arts Club
7 Oct: Stoke, Sugarmill
8 Oct: Hebden Bridge, Trades Club
10 Oct: Newcastle, Riverside
11 Oct: Aberdeen, Lemon Tree
12 Oct: Glasgow, Arts School
14 Oct: Wakefield, Unity Works
15 Oct: Sheffield, Leadmill
17 Oct: Birmingham, Glee Club
18 Oct: Cambridge, Junction
19 Oct: Hull, Fruit
21 Oct: Leicester, Academy 2
23 Oct: Southampton, Engine Rooms
25 Oct: Nottingham, Rescue Rooms
26 Oct: Oxford, Academy 2
27 Oct: Cardiff, Globe
28 Oct: Guildford, Boileroom

Universal, Bruno Mars, SoundCloud Go, more

Other notable announcements and developments today...

• Universal Music is expanding its digital strategy team with the hire of Jonathan Dworkin, most recently marketing chief at now defunct streaming service MixRadio. He will report to Michael Nash in his new role, another former Warner Music digital exec.

• Bruno Mars has parted company from his long-time manager Brandon Creed, according to the Billboards. It's thought the singer is considering setting up a new music company, and combining his personal management with whoever leads that operation.

• SoundCloud's subscription service is now available in France. SoundCloud Aller, I assume.

• Lip-syncing video app Musical.ly - via which people record themselves reacting to short snippets of top pop tunes - is in the process of raising another $100 million in finance to fuel further roll out, according to TechCrunch. Lip-sync that, why don't you?

• So how BIG is the Big Music Project? £4 million bigger than yesterday, that's how big. The slightly random music careers initiative is getting more cash from the Big Lottery Fund to fund even more slightly random music careers initiatives. Big news.

• Grimes has released the video for 'California' from her brilliant 'Art Angels' album.

• Here's is today's 'new Tegan & Sara video' mention.

• Coachella's new old-timer festival Desert Trip has added a second weekend on 14-16 Oct. More info here.

Bieber's face tattoo reminds us that he is our saviour
Justin Bieber's struggle is real. Not only does he have to contend with the responsibility of being the greatest human to ever live, he's having to work out his relationship to a higher power in public. Is he the messiah, is he not the messiah? These are questions he faces every day. Which is why he's had a cross tattooed on his face.

The new artwork was done last Friday, with Bieber giving fans a better look on Instragram under the pretence of showing the world how to properly rest prior to a live performance. Bieber is, of course, too meek to simply come out and say, "Hey guys, look at the tattoo I had done on my face".

Actually talking about the tattoo has been left to the artist who created it, who told Us Weekly: "It represents his journey in finding purpose with God".

Let's hope this brings him one step closer to being comfortable with the fact that he is our saviour. If not, maybe a fish on the chin will help.

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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