TODAY'S TOP STORY: Creator groups in the US have welcomed legislation proposed in the House Of Representatives last week by Hakeem Jeffries that would introduce a cheaper, quicker system for smaller copyright claims. Though some in the tech community are, somewhat predictably, already expressing concerns. The Copyright Alternative In Small-Claims Enforcement Act... [READ MORE]
TODAY'S APPROVED: Noréll are vocalist Marìe Louise Bjarnarson and producers Viktor Hagner and Nichlas Malling. And the trio have just released their debut single - 'Howl' - a co-write with labelmates Kill J. The influence of Kill J on the track is clear, but plenty of Noréll's own talents shine through too. Drums twist and snap under a similarly punchy bassline, giving... [READ MORE]
CMU TRENDS: Following last week's launch of the FanFair Alliance, we review the recent chapter in the secondary ticketing debate. Can current and proposed new regulations really crack down on the number of tickets sold at a mark-up on the secondary market? And what about those artists and promoters touting their own tickets? Premium readers can read more in this CMU Trends report. [READ MORE]
TOP STORIES US creator groups welcome proposals for copyright complaint fast-track system
LEGAL Department Of Justice chief says consent decree review not complete
LABELS & PUBLISHERS Kobalt promotes James Fitzherbert-Brockholes to COO
LIVE BUSINESS Mumford & Sons' Ben Lovett to open London venue
MANAGEMENT & FUNDING Jill Hollywood launches Echo Beach Management
DIGITAL & D2F SERVICES Apple Music improves iCloud matching
EDUCATION & EVENTS BBC Radio 3 announces Diversity And Inclusion In Composition conference
RELEASES Courteney Cox directs video for new Foy Vance single
ONE LINERS Mercury Prize, Momentum Music Fund, The Avalanches, more
AND FINALLY... Kanye West may face legal action over Taylor Swift video
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.
End Of The Road Festival is seeking a Finance Manager to work full time in its East London office, very much at the heart of the company, reporting to the Managing Director. This is an important job in a young company and would ideally lead to posting as the Finance Director.

For more information including a full job description and how to apply click here.
Warp require a Digital Projects Manager to play a key role in our wider marketing and promotions team. You will be responsible for the creation and delivery of digital focused elements of our release campaigns. You will have a passion for this dynamic area of music marketing, as well as the Warp label and our artists.

For more information including a full job description and how to apply click here.
IHM is looking for a new employee who will help with artwork, production, logistics, creating sales sheets, and communicating up to date sales info to distributors/artists etc. Full time working at our office in Wardour Street, they will need to know Word, Excel, Photoshop and InDesign or similar.

For more information including a full job description and how to apply click here.
Kobalt Label Services is looking for an International Product Manager, based out of our London office. The role will involve working with the Label Services team as well as our network of international label managers, distribution partners and licensees to plan, implement and deliver successful international marketing promotion campaigns.

For more information including a full job description and how to apply click here.
Hospital Records are hiring a label manager for their thriving business in South East London. The successful candidate should have proven experience and understanding of sales, marketing and distribution, and a solid grasp of the modern music market.

For more information and details on how to apply click here.
Ninja Tune is recruiting a Marketing Assistant to provide support for the Product Managers across all areas of artist campaigns. The role is ideal for someone with previous music industry experience, preferably within marketing.

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For more information and details on how to apply click here.
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An opportunity has arisen for an Operations Manager at one of London’s most versatile venue spaces. Troxy is based in East London, and the venue boasts a ground floor and circle area as well as a smaller event room and hosts events for 200 to 3100 people, such as corporate awards and dinners, live concerts, indoor sports events, club nights and weddings.

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Islington Assembly Hall is looking for a dynamic, experienced Assistant Bars & Events Manager with a proven track record within a live music operation to work at one of the country's premier 850 capacity venues. This is a fantastic opportunity to work and grow in national touring venue owned and operated by Islington Council.

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The Business Development member will be responsible for leading the charge in researching, generating, and contacting potential clients that may benefit from Songkick’s ticketing technology and services. This team member has the ability to create and maintain important relationships within the industry and the knowledge, passion and insight to portray our value to major artist clients.

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Calling experienced music industry professionals to join our talented tutor roster at the British And Irish Modern Music Institute. Now with over 5500 students studying at six fully connected BIMM colleges, we are again actively recruiting to appoint new specialist music industry tutors to join our roster – especially in the subject areas of music business, event management and music journalism.

For more information and details on 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.
25 Jul 2016 CMU Insights Seminar: Building A Fan-Orientated Business
26 Sep 2016 CMU Insights Masterclass: Music Business Explained – For Start Ups & Brands
27 Sep 2016 CMU Insights @ Music 4.5: The Politics Of Licensing
Oct/Nov 2016 CMU Insights Seminars Programme: How The Music Business Works
3 Oct 2016 CMU Insights Seminar: Making Money From Music
10 Oct 2016 CMU Insights Seminar: How Music Rights Work
17 Oct 2016 CMU Insights Seminar: How Music Licensing Works
24 Oct 2016 CMU Insights Masterclass: From Napster To Now – The Battle With Music Piracy
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31 Oct 2016 CMU Insights Seminar: Merch, Live & Brands
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US creator groups welcome proposals for copyright complaint fast-track system
Creator groups in the US have welcomed legislation proposed in the House Of Representatives last week by Hakeem Jeffries that would introduce a cheaper, quicker system for smaller copyright claims. Though some in the tech community are, somewhat predictably, already expressing concerns.

The Copyright Alternative In Small-Claims Enforcement Act - clumsily named to allow the acronym the CASE Act - would basically establish an arbitration process via which copyright owners could pursue smaller infringement claims without having to go the full litigation route. The statutory damages available via this process would be limited, though could still reach $15,000 per infringement. Much of what Jeffries is proposing was actually first suggested by a US Copyright Office report.

The aim of the small claims system would be to overcome what many consider a major weakness of copyright law, which is that the law says to sue infringers, but many smaller and individual copyright owners can't afford to pursue litigation, even if victory in court is pretty much assured.

Such a small claims system might also be relevant in the safe harbours domain, in that while a site like YouTube may be able to hide behind the safe harbour when one of its users uploads content without a licence from the copyright owner, the user has no such protection, except that few rights owners are going to go to the hassle of filing a full-on lawsuit. But an action through this new small claims system might be viable.

Which is one of the reasons why some in the tech community are criticising Jeffries' proposals, because it could result in a flood of complaints being filed against individuals uploading content to YouTube or similar platforms, or even those tapping the file-sharing networks for music. Which would be rather reminiscent of the unsuccessful sue-the-fans strategy pursued by the US record industry in the early days of file-sharing.

Some copyright owners still pursue that strategy to this day. Writes Mike Masnick on TechDirt: "We already see that [copyright owners] are flooding the federal court system, where multiple rulings against joinder - ie the ridiculous bundling of thousands of possible file sharers together - has meant that when [rights owners] do sue, they're generally limited in how many people they can sue".

"Making the process cheaper", Masnick continues, "but still offering statutory damages amounts that can be quite scary to the average American" could result in a ramping up of actions against individual file-sharers, and/or the sending of letters demanding out-of-court settlements from suspected infringers (what Masnick would call copyright trolling).

But for individual creators - who, in the main, have no interest in targeting thousands of suspected casual file-sharers, though might want to stop people using their content on YouTube channels - Jeffries' proposals could be liberating, giving artists and songwriters actual rather than theoretical copyright protection.

The US Authors Guild is one of the organisations which has been lobbying for something like this, and its Executive Director Mary Rasenberger told reporters last week: "The legislation will finally provide authors with a means of enforcing their rights. Federal court litigation is unaffordable to most authors and other creators, and so they have been left with unenforceable rights. We look forward to continuing to work with Congress to ensure that the legislation creates a tribunal that is accessible, navigable, and fair to authors - without having to hire lawyers".

Meanwhile, in a post on The Trichordist, the President of the Songwriters Guild Of America, Rick Carnes, also welcomes the proposals. He writes: "The average cost to bring a single, full-blown copyright infringement claim today is estimated to approach $350,000 in legal fees. At the same time, statutory damages for such infringements are currently capped under the US Copyright Act at less than half that amount per title!"

This means, he says, that "copyright law is useless to songwriters when the cost of enforcement of our rights far exceeds the compensatory damages able to be recovered against infringers".

Welcoming Jeffries' proposed new act, Carnes says: "We believe that this bill strikes the right balance between consumers and creators, establishing an alternative, opt-in arbitration system to resolve copyright infringement cases without necessitating the time and expense of filing and defending a 'Federal Case'".

In a bid for balance, Jeffries proposes that this new fast track system would also hear complaints from people who feel that a copyright owner is misusing the takedown element of the safe harbour provisions of the US Digital Millennium Copyright Act, especially when it comes to the fair use of copyright material. Though critics might argue that there remain ambiguities in quite how all that should work even in the federal courts, making it harder for an arbitration panel to rule on such matters.

Nevertheless, Jeffries will certainly argue that it's not just copyright owners who could benefit from his proposed fast track system for copyright complaints. It remains to be seen how the proposals fair in Congress.

Department Of Justice chief says consent decree review not complete
The boss of the US Department Of Justice has said that her department's review of the consent decrees that regulate collecting societies BMI and ASCAP is not actually complete, and a final decision is yet to be reached. This despite reps from both the societies and the music publishing community having been told that the government agency will reject the music industry's various requests for reform of the consent decrees, and instead force unpopular 100% licensing onto the two societies.

According to Billboard, when asked about the review during a House Judiciary Committee hearing in Washington last week, US Attorney General Loretta Lynch said: "My understanding is that the review is not complete ... and the decision hasn't been made and the discussion is still ongoing". Lynch added that it will likely be a few more months before the review is completed.

That said, most music publishers now expect the DoJ's final written conclusion of the consent decree review to recommend no changes, except the clarification on 100% licensing. That doesn't mean that there won't be further opportunities for the collecting societies and publishers to try and oppose this conclusion, not least because the DoJ's findings will have to go before a judge in the rate courts that enforce the consent decrees.

This was a point made by the boss of BMI, Mike O'Neill, last week, when he wrote on the society's website: "First and foremost, let me stress that the DOJ's position is simply that - its position. It's not a ruling or a decision. It is how the DOJ interprets BMI's consent decree. And as you know, BMI disagrees strongly with that interpretation. While we hope to reach a mutually agreeable resolution with the DOJ, we have a number of scenarios in front of us that we are evaluating carefully".

Kobalt promotes James Fitzherbert-Brockholes to COO
Kobalt has made two new senior appointments, promoting James Fitzherbert-Brockholes to the role of COO and hiring Tom Sansone to replace him as CFO.

"Fitz has been a dedicated leader within Kobalt for many years and has made incredible contributions to the organisation's growth, financial success and overall operational strength; he is the obvious candidate for the Chief Operating Officer role", says Kobalt's CEO Willard Ahdritz.

"We were very selective in our search to find a new CFO", he goes on. "And I am THRILLED that Tom has joined us. He has a keen understanding of both tech and media/entertainment industries. His expertise spans across all fundamental areas including forecasting, capital markets, operations and analytics which are relevant to the company's rapid growth and expansion on a global scale".

Fitzherbert-Brockholes adds: "I am THRILLED that I have this opportunity in a new role to help Kobalt, its staff and clients make sure that the coming years continue to be as exciting and successful as the last fifteen years have been. I have never felt so optimistic about the role of music in the world and the opportunities for artists as now, and I am proud that Kobalt has been at the forefront of delivering that positive change".

Meanwhile, can you guess how Sansome feels about his new job? "Willard has assembled an incredibly passionate and innovative team that I'm excited to be a part of".

Excited? What? Oh wait, he's not finished: "As the son of a jazz musician, I personally appreciate the importance of delivering more transparency to the creative community. I've always loved being part of businesses that use technology to drive evolution; so I am THRILLED to help Kobalt continue to transform the music industry's value chain in support of the artist".

Well done. Thrilling value chains all round.

Mumford & Sons' Ben Lovett to open London venue
Mumford & Sons guy and co-founder of Communion Ben Lovett has announced that he is opening his own venue in London. The venue, called Omeara, is part of a new development linking Waterloo and London Bridge stations for pedestrians.

"I've been playing and putting on shows in London for my entire adult life", says Lovett. "Without the grassroots music venues in this city, the band and I simply wouldn't have achieved what we have, so I have a lot to be grateful for".

Of course, London has lost many of those grassroots venues in recent years, something Lovett also notes: "London has lost so many of its brilliant music establishments and I want to do what I can to try and reverse that decline. It's early days right now, and we've got plenty of hard work to do before we even open the doors to Omeara, but I'm extremely excited for its future and what it can do for London".

To that end, Lovett is working with London mayor Sadiq Khan, who has been assuring everyone that the capital is still open for business, despite the rest of the country deciding that it would rather plunge itself into a decade or two of chaos by trying to unpick itself from the European Union.

"Growing London's cultural sector is one of my core priorities, and this includes supporting grassroots music venues", says Khan. "These venues, which are the lifeblood of our music scene, are often under threat, so I'm delighted to see Ben Lovett opening an exciting new destination for live music fans".

The mayor man continues: "I know Omeara will be a massive success, helping fresh new talent to make their mark in the capital, and have their music heard. This type of initiative is exactly what the capital needs, especially at this time when I want to show that #Londonisopen to creative entrepreneurs like Ben, who are underlining London's reputation as one of the best 24 hour cities in the world".

It's not clear exactly how many of those 24 hours each day the venue will be open for, but it will be a good portion of the night time ones, Lovett adds: "It has always shocked me how such an important global capital shuts down so many of its doors so early at night. There are thousands of people who don't work to standard office hours, or have to work long, late hours. That shouldn't mean they miss out on having some fun with their mates on the dance-floor a bit later on in the evening. I hope Omeara can be a club that provides that, and celebrate the 24 hour nature of London that is impossible to ignore".

The first round of live events at the venue are due to be announced in September. More information here.

Jill Hollywood launches Echo Beach Management
Producer and artist manager Jill Hollywood has announced that she is leaving Big Life Management after twelve years to launch her own management company, Echo Beach Management.

"We offer a very bespoke management service that's tailored to the client", says Hollywood of the new enterprise. "We're focused on ensuring that our artists achieve longevity with their careers".

"Part of that is identifying what's best for each person at specific times in their careers", she goes on. "If, for example, they've been working on a succession of big records, they might be more creatively fulfilled by spending some time on a more underground project. By recognising these needs, we build enduring relationships that flourish for both the artist and the company".

Producers Jacknife Lee, Cam Blackwood, MyRiot and mix engineer Ash Howes will follow her to the new company, which also features Chris Zane, Dave Bascombe, Alex Metric, Q, orchestral arranger Davide Rossi and vocal coach Lorna Blackwood on its roster.

Apple Music improves iCloud matching
Taking a day off from trying to screw over Spotify, Apple has decided to make an element of its own streaming service better. The element being improved is the iCloud Music Library which allows Apple Music subscribers to also stream tracks in their iTunes library on all their devices, which is mainly attractive where there are songs in said library that are not currently available to play via Apple's streaming platform.

Setting up an iCloud Music Library requires Apple Music to match the tracks in a user's iTunes folder with its own streaming catalogue, so to work out which of the user's tracks it needs to upload to the iCloud. Many people reported problems with that matching process when Apple Music first launched. Basically a better matching system was needed. But Apple just remembered it already has a better system for matching tracks in this way, helpfully called iTunes Match. Sorted.

So, yes, basically Apple will now be offering Apple Music users the audio fingerprinting matching functionality of iTunes Match, instead of the less effective meta-data based system Apple Music was using previously, and at no extra cost. Technically accessing iTunes Match costs $25 a year, a fee in part required because Apple needs licences from the music companies to offer match functionality as part of its cloud storage service.

The better matching functionality will be slowly rolled out to all Apple Music users, who will also find that music in their iCloud Music Library is no longer DRMed. Those who have both Apple Music and iMatch subscriptions - either because they already had iMatch when Apple Music launched, or they signed up to iMatch for better matching - will not be charged another $25 when their current iMatch subscription expires.

BBC Radio 3 announces Diversity And Inclusion In Composition conference
BBC Radio 3 has announced a one-day conference called Diversity And Inclusion In Composition. As the name suggests, it aims to identify ways to build greater diversity amongst those composing classical music, so that more people from the UK's black, Asian and ethnic minority communities are involved.

"I said when I started at BBC Radio 3 that I wanted us to look at this area and we are committed to making a difference", comments Radio 3 Controller Alan Davey. "The more we invest in diversity, the more talent and interesting art will emerge and we'll be able connect our audiences with even more remarkable music and culture that is reflective of the kind of country we are".

He goes on: "In our 70th anniversary year, we'll be looking to take lessons from the forum so that we expand the canon for the future, whilst also inspiring new audiences to connect with music".

One of the event's speakers, Birmingham Symphony Hall's Programme Director Toks Dada, adds: "I'm excited to be speaking at the Diversity And Inclusion In Composition conference, which I believe is an important opportunity for Radio 3 to highlight the work taking place across the BBC and the wider music industry to reflect diversity and to discuss what more needs to be done. While great progress is being made, I believe a fundamental change in how the industry operates is needed at all levels to ensure people from all ethnicities and backgrounds are inspired to enjoy and work in classical music".

The event will be held at the Royal Northern College Of Music in Manchester on 19 Oct. Radio 3 is calling on representatives from across the classical music industry to register their interest in a free pass by completing this form here.

  Approved: Noréll
Noréll are vocalist Marìe Louise Bjarnarson and producers Viktor Hagner and Nichlas Malling. And the trio have just released their debut single - 'Howl' - a co-write with labelmates Kill J.

The influence of Kill J on the track is clear, but plenty of Noréll's own talents shine through too. Drums twist and snap under a similarly punchy bassline, giving Bjarnarson a firm base from which to launch her vocals.

"[The lyrics] portray the wild erotic side of humans and their pursuit of satisfaction", she says of the song. "'Howl' deals with the consequences of acting on your primal instincts. Putting your own needs and desires before everything else, and the vulnerability and self-loathing that often follows once you've satisfied them".

Listen to 'Howl' here.

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Courteney Cox directs video for new Foy Vance single
Having coaxed Ed Sheeran out of hibernation to perform with him at Latitude last weekend, Foy Vance has enlisted another celeb mate to help him out. Courteney Cox has directed the video for his new single, 'Coco'. The video also stars her daughter, Coco Arquette, for whom the song was written.

Cox and Vance were introduced by her fiancé, Snow Patrol's Johnny McDaid, and have apparently been firm friends ever since. Someone should make a TV show about their lighthearted and occasionally mildly amusing escapades. Call it 'Chums', or something. He could sing a song about a cat over and over again until all joy has been sapped from life.

Anyway, here are some words from Courteney Cox: "From the first time Foy played 'Coco' for me (and every time I've heard it since), I've felt he captured, not only Coco's unique personality, but also the beautiful childhood innocence that sadly, but inevitably, fades with time. It is like a snapshot of the world as seen through a child's eyes sung by a man who is moved by how the world seems from her perspective. I think it's a perspective that we, as adults, never stop longing for".

Jesus. She continues: "Naturally, I was THRILLED when Foy asked if I would direct the video for 'Coco'. My hope is that I conveyed in a visual way the many levels of feeling that Foy's song so brilliantly expressed. I am struck, and continue to be struck, by Foy's incredible soul as a musician and father. He is a truly unique human being and I am proud to call him a friend".

Fucking hell, it's only a music video. This is never going to work as a pitch for our TV show, we don't want to ditch the jokes in favour of mawkish sentimentality until at least season three. Let's hope Foy can save this.

"That old adage 'the apple doesn't fall far from the tree' has never proved more true than with Courteney and Coco", says Vance. "As soon as I wrote the song 'Coco' - which started out as an off the cuff verse to make Coco laugh - it was obvious that Courteney would direct the video. They both have such beautifully inquisitive spirits and kind hearts. Mix that with a killer sense of humour and you've got the Courteney/Coco double act!"

Boom! Double act. The TV show is safe. Expect a pilot by tea time. That might seem over confident, but we just heard from a man who starts thinking about celebrity-directed videos the moment he knocks out any old nonsense on his guitar.

He's touring later this year, by the way. Including two nights at the Shepherds Bush Empire on 18-19 Nov.

Now, let's watch this bloody video.

Mercury Prize, Momentum Music Fund, The Avalanches, more

Other notable announcements and developments today...

• The judging panel for this year's Mercury Prize has been announced. They are musicians Jessie Ware, Jarvis Cocker, Kate Tempest, Jamie Cullum, Ellie Rowsell from Wolf Alice and Naughty Boy, radio types Jeff Smith, Clara Amfo and Annie Mac, plus journos Phil Alexander, Harriet Gibsone and Will Hodgkinson. "I'm glad I'm not one of them", insists Shaun Keaveny.

• Speaking of the Mercury Prize, the shortlist of twelve albums will be announced 4 Aug. In a change to the usual proceedings, a public vote will then weed out the six worst ones, with the judges choosing the winner from the remaining six. "I'm really looking forward to finding out this year's shortlist", insists Shaun Keaveny.

• Arts Council England has confirmed that it will provide another £1 million to keep the PRS For Music Foundation managed Momentum Music Fund going. If you fancy some of that cash, you can apply for the next round of grants here.

• Speaking of the Momentum Music Fund, the latest eighteen acts to benefit from it are: Afriquoi, Azekel, Charlie Cunningham, Eli & Fur, Employed To Serve, Eska, Flamingos, Hooton Tennis Club, Kagoule, Levelz, Life, ROM, Speech Debelle, Swindle, Ten Fè, This Is The Kit, Throwing Shade and Tom Misch.

• The Avalanches have announced that they are postponing a number of UK shows, as the group's Tony Di Blasi requires medical treatment in Australia.

• Prophets Of Rage have released their first track. It's called 'Prophets Of Rage'.

• GOOD Music signing Kacy Hill has released the video for new single 'Lion', the first track from her debut album, which is due out in the autumn.

• Red Fang have announced that they will release new album, 'Only Ghosts', on 14 Oct. From it, this is 'Flies'.

• Jóhann Jóhannsson has announced that he will release his first solo album for six years, 'Orphée', on 16 Sep. From it, this is 'Flight From The City'. He's also playing the Barbican in London on 9 Dec.

• Honeyblood are back with a new single, 'Ready For The Magic'. The track is taken from new album 'Babes Never Die', which is due out on 4 Nov.

• Orka have released another single from their excellent new album 'Vað'. Watch the video for 'Igulker' here.

• Batteries have released the lyric video for new single 'Pigs'. New album 'The Finishing Line' is out on 5 Aug.

• Pascal Pinon have released another track from their forthcoming new album, 'Sundur'. Listen to 'Orange' here.

• Because it was surely inevitable, Akira The Don has remixed the 'Pokemon Go' theme tune.

• Kate Jackson, formerly of the Long Blondes, has announced tour dates for September and October. Her debut solo album, 'British Road Movies', is out now.

Kanye West may face legal action over Taylor Swift video
Well blimey, that all escalated quickly, didn't it? Kim Kardashian posted a video on Snapchat and now Kanye West might be going prison. And it's all down to that pesky Taylor Swift.

Right, so, yes, back in February Kanye West unveiled his latest album, 'The Life Of Pablo'. It immediately drew controversy due to the line on the track 'Famous' that went: "I feel like me and Taylor might still have sex / Why? I made that bitch famous".

A spokesperson for Swift said at the time that she had "cautioned him about releasing a song with such a strong misogynistic message" after he asked her to share the finished recording on Twitter, and that she "was never made aware of the actual lyric, 'I made that bitch famous'". West responded by saying that he "had a hour long convo with her about the line and she thought it was funny and gave her blessings".

And so began a stand off that continued until Sunday night when Kim Kardashian decided to post to Snapchat excerpts of a video of the conversation referenced previously by West.

The brief clips show West informing Swift that he'd written the words "I feel like me and Taylor might still have sex" and talking about his responsibility to her "as a friend" to tell her before the track was released. She says the line is "like a compliment, kind of" and that "it's obviously really tongue in cheek". She adds that it's "really nice" that he called her up to check she was happy for him to reference her like that.

Swift responded with a statement on Instagram, noting that the specific words she actually took exception to were not run past her, as Kardashian's video shows.

"Where is the video of Kanye telling me he was going to call me 'that bitch' in his song", she asks. "It doesn't exist because it never happened. You don't get to control someone's emotional response to being called 'that bitch' in front of the entire world".

"Of course I wanted to like the song", she continues. "I wanted to believe Kanye when he told me I would love the song. I wanted us to have a friendly relationship. He promised to play the song for me but he never did. While I wanted to be supportive of the Kanye on the phone call, you cannot 'approve' a song you haven't heard. Being falsely painted as a liar when I was never given the full story or played any part in the song is character assassination".

"I would very much like to be excluded from this narrative, one that I never asked to be a part of, since 2009", she concludes, referencing West's stage invasion of her MTV VMAs acceptance speech for Best Video that the rapper's lyric alludes to.

Then Twitter exploded and everyone had an opinion. Opinions that included Kardashian's sister posting a picture of a bumhole. Thank goodness Twitter isn't actually real life and we can ignore all that.

The more immediate problem than people just thinking things though, is that a crime may have been committed here. If, as it is thought, the apparently secret videoing of West and Swift's phone call took place in an LA recording studio, then that would have broken California law. Consent from both parties is required before recording a phone call in the state.

According to TMZ, already aware of the video, Swift's lawyers threatened West with legal action if the video was publicly released back in February. A legal letter obtained by the website demands that the rapper "immediately destroy all such recordings, provide us of assurance that this has been done, and also assurance that these recordings have not been previously disseminated".

Given those stern demands back then, what now? Would Swift actually sue over this? Or report him to the authorities? As The Hollywood Reporter notes, if she did West and Kardashian could face up to a year in prison. What fun.

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
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