TUESDAY 24 MAY 2016
TODAY'S TOP STORY: So, with more and more record labels now declaring streaming as their single biggest revenue stream; and with that really meaning subscription streaming; and with that, in many markets, really meaning Spotify; how the hell is everything going over there at Spotify HQ? Good question, and a timely question, because the uber-streaming-firm has just filed its latest financial... [READ MORE]
 
TODAY'S APPROVED: Vessels are no strangers to this column, but it's always worth taking a look in to see what they're doing because their sound is an ever-changing thing. The band they are today is completely different to the band who played a thing we used to do called CMU Social about eight years ago (for clarity, it is actually the same band, is that more clear? I'm not sure... [READ MORE]
TOP STORIES Massive growth but increased losses at Spotify - when will it go into profit?
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LEGAL Russian ministers consider search engines' role in beefing up web-blocking
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DEALS Pan-European song rights hub ICE announces first licensing deal
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LIVE BUSINESS Secondary ticketing sites routinely offering tickets unlawfully, Which? reports
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ARTIST NEWS RZA and Interpol's Paul Banks release first track from new collaboration Banks & Steelz
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RELEASES Adele releases Send My Love (To Your New Lover) video
Shabazz Palaces to release Third Man live album
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GIGS & FESTIVALS Tom Odell. Tour.
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ONE LINERS BPI Sync Mission, Brapp, Jayonce, more
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AND FINALLY... Kelis' milkshake lie finally unearthed
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Click JUMP to skip direct to a section of this email or ONLINE to read and share stories on the CMU website (JUMP option may not work in all email readers). For regular updates from Team CMU follow us on Twitter, Facebook or Tumblr.
 
 
SENTRIC MUSIC - CATALOGUE ADMINISTRATOR (LIVERPOOL)
Sentric Music are looking for a Catalogue Administrator to join the Rights Management team based in our Liverpool office where they will help manage sub-published catalogues.

For more information including a full job description and how to apply click here.
   
OUTPOST MEDIA - SUPERSTAR PR ACCOUNT MANAGER (LONDON)
Fast growing music PR agency Outpost Media is looking for a sharp Account Manager who loves PR and takes pride in doing a superstar job. You will require an encyclopaedic music knowledge, a passion for clubs and gigs and be obsessed with popular youth culture.

For more information including a full job description and how to apply click here.
   
SIX07 PRESS – FREELANCE SENIOR PR (LONDON)
Six07 Press is a well-established, independent music PR company, based in Camden. Are you an individual with a couple of years’ experience in music PR, who is able to take your acumen and apply it directly to our roster?

For more information including a full job description and how to apply click here.
   
SIX07 PRESS – FREELANCE JUNIOR PR (LONDON)
Six07 Press is a well-established, independent music PR company, based in Camden. This is a great chance for someone who has a tremendous sense of fun and creativity and would like to work in music PR.

For more information including a full job description and how to apply click here.
   
FIRE RECORDS – IT DEVELOPER / PROGRAMMER / SUPPORT (LONDON)
Fast growing North London music company Fire Records is looking for a full time IT genius and developer to support a close knit team, covering a variety of roles.

For more information including a full job description and how to apply click here.
   
YOUR ARMY - PRESS OFFICER (LONDON)
Your Army is seeking a dynamic Press Officer to join its busy press department and promotions team. The successful candidate will have a minimum of one year’s experience working across both print and online media alongside an adept understanding of both new and established artist campaigns.

For more information including a full job description and how to apply click here.
   
!K7 - LABEL MANAGER (BERLIN)
The !K7 Label Group is looking for an experienced Label Manager to join its Berlin team. We are looking for a highly organised and motivated individual to manage all aspects of our release campaigns whilst driving artist and label development.

For more information including a full job description and how to apply click here.
   
INGROOVES MUSIC GROUP - INTERNATIONAL DIGITAL ACCOUNT MANAGER (LONDON)
The position of International Digital Account Manager is responsible for the development and growth of key accounts in the digital music industry outside of North America. You will work closely with label representatives to ensure maximum visibility for our key projects and manage relationships with external accounts and internal teams at INgrooves.

For more information including a full job description and how to apply click here.
   
PRS FOR MUSIC - HEAD OF BROADCAST LICENSING (LONDON)
The Head of Broadcast Licensing will lead the Broadcast Licensing function within PRS for Music, managing negotiations with the largest broadcast customers. They will develop and drive the licensing teams to ensure PRS for Music is maximising revenues and increasing licence penetration whilst delivering excellent customer service.

For more information including a full job description and how to apply click here.
   
MINDS ON FIRE - PUBLISHING ASSISTANT (LONDON)
Minds On Fire, a dynamic music publishing company, is looking for an assistant to work across all aspects of the company. Reporting to the two directors, the role will involve managing the extensive works database, song registration, liaising with sub publishers, updating the website / social media platforms and assisting with synchronisation.

For more information including a full job description and how to apply click here.
   
ROCKET PR - NATIONAL RADIO PLUGGER (LONDON)
Rocket PR have an exciting opportunity for a national radio plugger to join their successful team. Rocket is one of the UK's leading radio and TV promotions companies, working with top independent labels and both emerging and established artists.

For more information including a full job description and how to apply click here.
   
MINISTRY OF SOUND - LICENSING EXECUTIVE (LONDON)
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.

For more information including a full job description and how to apply click here.
   
NETTWERK MUSIC GROUP - PROMOTION MANAGER (LONDON)
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.

For more information including a full job description and how to apply click here.
   
AEI MEDIA - MUSIC PUBLICIST (LONDON)
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.

For more information including a full job description and how to apply click here.
   
[PIAS] ARTIST & LABEL SERVICES - LABEL MANAGER (LONDON)
[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.

For more information including a full job description and how to apply click here.
   
EGG LONDON - DIGITAL MARKETING MANAGER (LONDON)
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.

For more information including a full job description and how to apply click here.
   
LISTEN UP - SENIOR PRESS MANAGER (LONDON)
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.

For more information including a full job description and how to apply click here.
 
CMU Jobs is a proven way to recruit the best music business talent for roles across the industry at all levels, from graduate to senior management. To book an ad contact Sam on 020 7099 9060 or email ads@unlimitedmedia.co.uk
 
 
A guide to upcoming events from and involving CMU, including seminars, masterclasses and conference sessions from CMU Insights and workshops from CMU:DIY, plus other events where CMU journalists are speaking or moderating.
 
kicks off 6 Jun 2016 CMU Insights Seminars Programme: How The Music Business Works
CLICK FOR INFO
6 Jun 2016 CMU Insights Seminar: Making Money From Music
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13 Jun 2016 CMU Insights Seminar: How Music Rights Work
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15 Jun 2016 CMU Masterclass: Music Business Explained - For Brands
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20 Jun 2016 CMU Insights Seminar: How Music Licensing Works
CLICK FOR INFO
27 Jun 2016 CMU Insights Seminar: The Music Rights Sector
CLICK FOR INFO
4 Jul 2016 CMU Insights Seminar: Merch, Live & Brands
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6 Jul 2016 CMU Masterclass: Navigating The Digital Market
CLICK FOR INFO
11 Jul 2016 CMU Insights Seminar: Building A Fanbase - Social Media Tools
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18 Jul 2016 CMU Insights Seminar: Building A Fanbase - Music Media
CLICK FOR INFO
25 Jul 2016 CMU Insights Seminar: Building A Fan-Orientated Business
CLICK FOR INFO
 

Massive growth but increased losses at Spotify - when will it go into profit?
So, with more and more record labels now declaring streaming as their single biggest revenue stream; and with that really meaning subscription streaming; and with that, in many markets, really meaning Spotify; how the hell is everything going over there at Spotify HQ?

Good question, and a timely question, because the uber-streaming-firm has just filed its latest financial report in Luxembourg. Of course, we already knew that the company had seen rapid growth in userbase in 2015 - with both premium and freemium user numbers growing fast, despite Apple's arrival into the streaming market - but what about the moolah?

Well, the streaming business saw its revenues surge by 80% in 2015 to a neat 1.95 billion euros. The vast majority of this income came from paying subscribers, with premium revenues up 78% to 1.74 billion euros, though ad income actually grew faster, by 98% to 196 million euros. Nevertheless, the smaller premium subscriber base is still very much subsidising all of those users on the free ride.

Still, what growth! That's good right? And you know what else were up? Net losses. That's what. From 162 million euros in 2014 to 173 million euros in 2015. So that's fun, isn't it? Of course it's no surprise that Spotify is still loss-making, given that pretty much everyone in the streaming music game is losing money, plus we knew just how much extra cash Spotify had been raising as it ramps up for the IPO that is now expected next year.

The minimum guarantees based on users and usage that Spotify must pay to the labels, music publishers and collecting societies under its licensing agreements are in no small part behind those losses, the firm's liabilities to the music industry still significantly higher than they would be under the basic revenue share arrangement that sits at the heart of its licensing deals with the music rights owners.

Carrying all those freemium users in the hope that they'll upgrade at some point is another big cost, and Spotify became more proactive in its marketing efforts last year, partly in a bid to take its service to more mainstream consumers, and partly to counter new competition from Apple (and, to an extent, Google and Amazon).

The company also continues with its expensive policy of aggressive growth worldwide, moving into new territories while concurrently trying to go mainstream in existing markets.

Spotify, and its competitors, have to pursue these aggressive growth strategies because they have business models that all about scale. "We believe our model supports profitability at scale", said Spotify once again in its latest financial filing, in a bid to put a positive spin on the mounting losses.

Of course, the big unknown remains just how much scale Spotify needs to become a viable business long term. Despite nearly doubling its ad income last year, Spotify is really in the premium subscriptions game. How many premium subscribers does it need - bearing in mind the value of a subscriber varies from market to market - and are there that many subscribers out there, at all, and in face of competition from the cash pile that is Apple?

Says Spotify: "We believe we will generate substantial revenues as our reach expands and that, at scale, our margins will improve. We will therefore continue to invest relentlessly in our product and marketing initiatives to accelerate reach".

With streaming now the single biggest revenue generator for many labels, and that revenue stream basically reliant on a handful of currently loss-making services, whether or not Spotify can go into profit is a serious concern. Because if not, the record industry could become wholly reliant on data and device businesses for which music is a means to an end and which could, at any time, decide there are easier ways to gather data and flog devices.

With download sales now in steep decline, it could be argued that artists and labels should themselves be more proactively encouraging their fans to sign up to paid for streaming platforms, and not just whichever service paid them for an exclusive. And perhaps the industry at large should be employing consumer PR to talk up the paid for options, rather than relying on corporate PR to bad mouth the freebie platforms.

Because while it's true that there are plenty of tedious investor types who are set to profit handsomely from a successful Spotify, the music industry itself has the most to gain from at least a few of the premium subscription services going into profit and, more importantly, the most to lose if they fail. Because if they do all fail the traditional record industry is, to use an economics term, fucked.

Talking of loss-leading marketing efforts, Spotify has announced it is upgrading its family plan to match those of its rivals, so more family members can have accounts on the streaming platform without increasing the monthly family rate fee. More users, more streams, no more money - it's a winning formula!

Russian ministers consider search engines' role in beefing up web-blocking
In amongst all the bluster around bloody YouTube, the music industry's continued frustration with the Google search engine routinely linking through to piracy sites that have been deemed copyright infringers in the courts doesn't tend to get so much attention, despite the case for legislative intervention surely being much more clear cut on that one.

Though legislative intervention may be incoming, in Russia of all places, where the government is considering ways to beef up web-blocking measures it introduced a few years back. As in other countries, the problem with web-blocking - whereby internet service providers are ordered to block access to websites deemed to be rampant copyright infringers by the courts - is that as soon as a site's URL is blocked, proxies appear online that allow users to circumvent the blockades, and these are usually easily found on search engines.

Russian ministers are considering various ways to overcome this issue, and that includes putting new obligations on search engines to play ball where courts have ordered ISPs to act against piracy sites. Draft legislation now includes proposals that would allow rights owners to seek injunctions forcing search engines to stop listing and linking to proxies and web pages that exist to help people circumvent anti-piracy web-blocks.

Of course, none of these proposed measures are a panacea; those who really want to will always find their way around any web-blocks, or will just adopt newer forms of piracy that current web-block practices aren't set up to deal with. Though, forcing search engines to comply as best they can with the ISP's web-block orders would definitely increase the efficiency of web-blocking to a point.

All of which means it will be interesting to see what new web-blocking measures actually make it into Russian copyright law, whether it has any impact, and whether it is subsequently adopted elsewhere.

Pan-European song rights hub ICE announces first licensing deal
It's funny how you're allowed to like Google Play Music, but any indication that you once said "hello" in something nearing a polite fashion to anyone in anyway associated with YouTube or Google Search is a big fat no-no.

I mean, I get that Google Play Music is the web giant's one music service built around the licensing model liked by the music rights sector, but it is still owned by Google. So it's got to be evil, right? I bet the whole Google Play Music venture is some sort of clever cover-up for a sinister conspiracy that exists solely to fuck over artists. You mark my words. One day it'll get some users, and then the shit will really hit the fan.

Anyway, ICE - the super duper new songs licensing hub set up by European collecting societies PRS, STIM and GEMA - has announced its first licensing deal, and it's only with the not-at-all-evil Google Play Music.

It means that the Google music service is licensed to exploit song copyrights represented by all three collecting societies under one deal. ICE will also process consumption data and royalties on behalf of all three societies (and more to come) reducing the workload of the rather laborious way in which song royalties are calculated in the streaming domain.

"This agreement with Google Play Music is evidence of the significant progress made by ICE, which follows five years investment and development by its three European collective management organisation shareholders" says ICE. And who are we to argue? I mean, I could argue if I wanted to. I could argue anything if I wanted. But I'm tired. And I might accidently diss Google Play Music in the process, and I worry some shadowy figures would disappear me.

So let's just hear what PRS boss - and CEO of ICE Services - Robert Ashcroft has to say: "We are proud to have been able to work together with Google Play Music to launch the first ICE Services online music licence. ICE will make a major contribution to the Digital Single Market by simplifying pan-European licensing for digital music service providers and maximising value for rightsholders. We are delighted to mark the beginning of a revolution in the online market".

Meanwhile, over at Google, Victoria Campoamor (who also has YouTube under her remit, but don't tell anyone that), says: "We are honoured to have been selected as the pilot digital service and are pleased to be the first licensee to sign an agreement with ICE. We look forward to building a constructive relationship with ICE and to the realisation of operational efficiencies from the new platform and its benefits to composers and publishers".

Secondary ticketing sites routinely offering tickets unlawfully, Which? reports
Some of the biggest secondary ticketing sites are routinely listing tickets unlawfully in the UK, according to new Which? research. It says GetMeIn!, Seatwave, StubHub and Viagogo all offer music and theatre tickets for sale without adhering to the rules laid out in the previously reported Consumer Rights Act, which introduced some light regulation of the ticket resale sites last October.

Which? sampled 200 listings for a variety of shows, including Beyonce's 'Formation' tour. The organisation found that information on the face value of tickets, seating information, and restrictions were regularly not being provided, despite such information now being required by law when tickets are resold.

In response, StubHub said that "there are instances where sellers may not have access to this information at the time of listing, as some primary vendors do not provide this at the time of purchase".

However, when posing as a seller, Which? found that some sites are simply not displaying information that has actually been provided to them. Viagogo, for example, makes it mandatory for sellers to input the exact face value cost, but then does not always display this figure.

Seating information may sometimes be unavailable at the time of purchase, though there is also a fear that if this information is made available then some promoters and artists will cancel those tickets. No listings that Which? checked on Viagogo had a seat number, while none of the other sites also failed to provide them on all listings. And none made it mandatory for sellers to providing seating details where tickets are locked to specific seats.

Viagogo also failed to list whether there were any restrictions on tickets being resold and, unlike the other three sites investigated, didn't make it mandatory for sellers to say whether or not any restrictions applied.

"We've found evidence of tickets being sold unlawfully", commented Which? Director Of Policy And Campaigns Alex Neill. "This means people will struggle to find basic information on tickets, such as face value and seat location. It is clear the protections put in place by the Consumer Rights Act aren't being followed by some of the biggest players in the market, and no action is being taken against them. The government must crack down on bad practice so that people know what they're buying and don't get ripped off".

Specifically, Which? is calling on the government to clarify that it is the secondary sites, rather than individual sellers, who are responsible for ensuring that the required information is displayed, something that has been of much debate since the Consumer Rights Act became law.

The research comes ahead of the publication of the results of the government's latest review of the secondary ticketing market, which is due this week.

  Approved: Vessels - Are You Trending?
Vessels are no strangers to this column, but it's always worth taking a look in to see what they're doing because their sound is an ever-changing thing. The band they are today is completely different to the band who played a thing we used to do called CMU Social about eight years ago (for clarity, it is actually the same band, is that more clear? I'm not sure).

New single 'Are You Trending?' sees them fully transition into the five-man live techno outfit they've been evolving into over the last few years. And, as ever, the latest shift in their sound is exciting and refreshing, with a track that builds into something well beyond initial expectations. There may be a weight of expectation on the quality of their music, but sonically it seems they can go wherever they want.

Listen to 'Are You Trending?' 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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RZA and Interpol's Paul Banks release first track from new collaboration Banks & Steelz
Wu-Tang Clan's RZA and Interpol's Paul Banks have announced a new musical collaboration, calling themselves Banks & Steelz. It might seem like RZA has put a bit more thought into coming up with a name for the new project, though given that he's gone by the name Bobby Steels in the past, I think they should both be marked down for lack of effort here.

It's not like they haven't had time to think of a name, either. They've been working on music together for three years. Back in 2013, RZA told Rolling Stone: "My manager came to me and said, 'Who do you want to do an album with?' I said, 'Well, Paul just has an energy about him. I think if we put our sandwich together it will be great'. Me and Paul, we play chess together and just hang out. We went to the studio and we started writing songs and they sound very, very different than what I do, but very unique and very peculiar".

Those differences meant that the collaborative album took a while to complete, so at least some effort has been put in there. I guess that's what matters most. And they've now released their first track together, 'Love & War', of which RZA says: "For love sometimes we find ourselves at war and the combatants may do anything to win. For me love is worth fighting for, as long as love is not lost".

Here's the video for the track, which also has Ghostface Killah on it.

Adele releases Send My Love (To Your New Lover) video
Adele's 'Send My Love (To Your New Lover)' video came out yesterday. You may well be one of the 1.5 million people who've already watched it. You might not though. Statistically, it's more likely that you aren't. That's just maths. And that is why I'm not going to accept your claims that I am late reporting on this.

Anyway, this video, it's directed by Patrick Daughters, who's done stuff for Feist, Muse and Yeah Yeah Yeahs in the past. His idea for the video is apparently taken from the line in the song, "We've gotta let go of all of our ghosts".

"Ghosts in this case are versions of ourselves that remain stuck at particular point in the past", he explains. "So when Adele sings about letting go of all of our ghosts, I picture other versions of her that are in a different place than where she is now".

It's lucky he explained that before I watched the video, otherwise I'd have thought he'd just discovered a new effect on his editing software and gone a bit over the top with it.

Here's the video, which you are very likely to be watching for the first time here.

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Shabazz Palaces for released Third Man live album
Shabazz Palaces are to release a live album through Third Man next month. The record was recorded live at Third Man's Nashville studio last year.

Says Third Man's Ben Swank: "Shabazz Palaces' obstinately original oeuvre emanates from a fully formed higher conscious, they plant their flag in the outermost realms of the hip hop global soundscape where vibrations throb into beat-heavy explorations, chrome covered constellations of higher reveries each offering its own sonic boom".

No, that really is what he said. I never promised it would make sense. Anyway, here's the performance of 'Youlogy' from the record.

Tom Odell. Tour.
Tom Odell. Tom Odell. Tom Odell. He's going on tour. Tom Odell is. Going on. Tour. A tour of many places. Places in Europe. But I'm going to focus on the dates in the UK. Please do not take this as a political comment, it's just a longstanding editorial policy. Actually, there's a date in Ireland as well, and I'm listing that, making these actually British Isles dates, which gets me off the referendum commenting hook. What referendum? Who knows? Anyway, Tom Odell. He's going on tour.

Dates of the Tom Odell tour:

1 Nov: Dublin, Olympia Theatre
2 Nov: Belfast, The Limelight
4 Nov: Brighton, Brighton Centre
5 Nov: Plymouth, Pavilions
6 Nov: Swindon, Oasis Centre
8 Nov: Leeds, Academy
9 Nov: Manchester, Apollo
12 Nov: Birmingham, Academy
13 Nov: London, Brixton Academy

Those are the dates on which Tom Odell will play shows in the UK and Ireland. Tom Odell.

BPI Sync Mission, Brapp, Jayonce, more

Other notable announcements and developments today...

• Nine artists and composers have received Arts Council funding to perform and/or pitch their music at the BPI, MPA & UKTI Sync Junket, sorry, I mean Mission to LA next month. Performers: C Duncan, Jones, Lonelady, Stealth. Composers: AIM, Neil Davidge, Oly Ralfe, Richard Anthony Jay, Samuel Clarke. "Outstanding cohort", says ACE's Helen Sprott.

• A new music social networking app (no, not that one) has partnered with the Boom Bap Festival. Brapp aims to link rappers and vocalists to producers, and will be sourcing artists to perform on the hip hop festival's main stage this year.

• First Jay-Z was rumoured to be preparing a response album to Beyonce's 'Lemonade'. Now the word is that they're recording a joint album to answer questions about "Becky with the good hair". A short press release would do, guys.

This is what Kanye West was up to in 1997.

• Hey! Ariana Grande has released the video for 'Into You'.

• Not only that, Alicia Keys has released a video for 'In Common' now.

• And Loyle Carner has released a video for 'Stars & Shards'.

• Meanwhile, Elle Exxe has released a video for new single, 'Lately', and also announced a live 'Exxtravaganzza' at The Old Queens Head in London on 6 Jul.

• Breaking the cycle, Julie Ruin don't have a video, but they have put a new track called 'I'm Done' on SoundCloud.

• Julie Ruin might be done, but I'm not because Yoni & Geti, aka Yoni Wolf and Serengeti, have released a video for their track 'Madeleine'.

• Madness? Well, Madness have announced a UK arena tour at the end of the year.

Kelis' milkshake lie finally unearthed
Kelis once claimed that her "milkshakes" had the power to bring "all" of the "boys" to the "yard". Now, what constitutes "all" in this statement is something that could be debated until the end of time. But it should not be, because it turns out that Kelis may never have even made one milkshake, let alone milkshakes plural.

"I don't think I've ever made a milkshake", she admitted to the Guardian. "I made a smoothie the other day that was really good - protein powder, spinach, orange, and crushed ice with a little bit of honey and coconut water. I'll make you a Kelis smoothie next time you come over".

Too fucking late, Kelis. Don't try to fob us off with your "smoothies", whatever that's supposed to mean. This is big. This is earth-shattering. I wouldn't be surprised if it now turned out that Kelis doesn't even own a yard. Or if she does - or did - that it wouldn't even be of a size to comfortably accommodate anything like all of the boys.

I should probably state at this stage that I have entirely forgotten what is and isn't a metaphor in any of this. That is how much Kelis's web of lies has affected me.

 
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.

To promote your company or advertise jobs or services to the entire UK music industry via the CMU bulletin or website contact Sam on 020 7099 9060 or email ads@unlimitedmedia.co.uk
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