TODAY'S TOP STORY: As US collecting society ASCAP prepares a lobbying push in Washington in the wake of last week's Department Of Justice ruling on the consent decrees that regulate collective licensing Stateside, six members of the House Of Representatives have already come out against the music industry in this debate. As much previously reported, the big music publishers in the US... [READ MORE]
TODAY'S APPROVED: SaraSara makes music that is, I should get this out of the way up front, fucking weird. But also strangely comforting. She has just released 'Euphoria', the first single from her debut album 'Amorfati', which was co-produced with Matthew Herbert. Speaking about her approach to music, she says: "Music definitely has a concrete function for me. It's not art for art's sake, it's an... [READ MORE]
TOP STORIES Six members of Congress sign letter welcoming Department Of Justice's ruling on consent decrees
LEGAL Lawyers demand release of alleged KickassTorrents chief
Led Zepp won't get legal costs covered despite success in song-theft case
Man jailed for reselling football tickets
LIVE BUSINESS UK festivals kept going by 'super fans' says new research
BRANDS & MERCH CMU backs live music prize at European Sponsorship Association awards
DIGITAL & D2F SERVICES Biffy Clyro VR experience to tour UK festivals
Bkstg loses CEO and President
ARTIST NEWS The Maccabees to split
Bow Wow to retire from music
AND FINALLY... Teenagers! Stop going to festivals when you have measles
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An exciting opportunity for an enthusiastic administrative assistant to support the busy team at one of the UK’s leading booking agencies, X-Ray Touring.

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The O2 Academy Newcastle requires a General Manager to manage the venue both efficiently and effectively ensuring that the diary is commercially maximised and all statutory duties are discharged.

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Thrill Jockey Records is seeking a passionate and enthusiastic print and online publicist to be based out of our East London office. The ideal candidate must be able to work with established artists, and developing new and emerging artists from a diverse spectrum of musical genres/styles.

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Kobalt is looking for a highly motivated individual to join our AWAL UK Operations Team, based in our London office. The Digital Supply Chain Manager will be responsible for maintaining and enhancing AWAL’s supply chain performance across audio and video platforms, ensuring timely and accurate delivery of content.

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Bleep is looking for a junior marketing manager who will be primarily responsible for devising and implementing marketing strategies for Bleep.com with three key aims: customer acquisition, brand-building, and customer engagement.

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Free Trade Agency is a busy live music booking agency, working with many world renowned artists. We are currently looking to fill the position of Receptionist / Office manager. The successful candidate will have a great opportunity to learn the workings of the live music industry.

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We’re looking for an Account Manager with at least two years experience in print and online publicity. Our campaigns range from up-and-coming-talent, established acts, catalogue releases and events across a variety of genres.

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This exciting new position reporting to the President of eOne Music requires a dynamic self-starter to head the UK music division to represent our remarkable client roster across all divisions of label, management and publishing and liaise with our TV, film and family divisions.

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Kilimanjaro Live are recruiting a Ticketing Project Manager to join their existing team of two. The individual will take full responsibility for specific shows and tours from set-up, through the sales period and to settlement post show.

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Locomotion is hiring an Office manager / PA to the Managing Director for our growing management and music publishing business based in Soho, London. The role forms a key part of our team and would suit a self-motivated forward-thinking individual with exceptional organisational skills and attention to detail in the dealings with artists, producers, executives and business partners.

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Kartel Music Group is recruiting a Marketing Manager to complement its existing product management, distribution and internal promotions team. The role will be involved in a cross section of sales and marketing activity within the management, label and artist services sector.

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The role of Agent Assistant is crucial, having responsibility for creating and delivering key documentation to ensure a smooth process from show/tour confirmation to show/tour completion. The assistant helps to manage the main administrative process in delivering shows to the highest possible standard on time and without error.

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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.

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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.

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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.
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
24 Oct 2016 CMU Insights Seminar: The Music Rights Sector
31 Oct 2016 CMU Insights Seminar: Merch, Live & Brands
7 Nov 2016 CMU Insights Seminar: Building A Fanbase - Social Media Tools
14 Nov 2016 CMU Insights Seminar: Building A Fanbase - Music Media
21 Nov 2016 CMU Insights Masterclass: Digital Deals, Dollars And Trends – Explained!
21 Nov 2016 CMU Insights Seminar: Building A Fan Orientated Business

Six members of Congress sign letter welcoming Department Of Justice's ruling on consent decrees
As US collecting society ASCAP prepares a lobbying push in Washington in the wake of last week's Department Of Justice ruling on the consent decrees that regulate collective licensing Stateside, six members of the House Of Representatives have already come out against the music industry in this debate.

As much previously reported, the big music publishers in the US wanted the rules that govern collecting societies ASCAP and BMI to be revised, not least to allow partial withdrawal, so that rights owners could force digital services into direct deals while still licensing bars, venues and radio stations through the collective licensing system.

But the DoJ, which oversees the consent decrees, concluded that no such revisions were required and, not only that, but that current consent decree rules obligate ASCAP and BMI to operate a 100% licensing system. This means that, where a song is co-owned and represented by multiple societies (because the writers are members of different performing rights organisations), any one society should be able to provide a full licence for that work.

The DoJ and lobbyists for various groups of music licensees insist that 100% licensing has always been the default rule under the consent decrees. But the music industry strongly disagrees, insisting that this interpretation requires a significant overhaul of how the US collecting societies work. As far as they are concerned, as it currently stands, anyone wanting to use a song repped by multiple societies needs a separate licence from each PRO, a process sometimes called 'fractional licensing'.

Last week, after the DoJ formally confirmed the conclusions of its consent decree review, ASCAP and BMI announced a joint effort to fight back against 100% licensing, while also continuing to push for other reforms. BMI will lead the fight back through the courts, while ASCAP intends to seek support in Congress, noting the DoJ's own comments that an overhaul of copyright law might be a better way of addressing issues with music licensing, rather than just meddling with old anti-trust agreements.

But as those new lobbying efforts get underway, six members of the House Of Representatives – three Republican, three Democrat – yesterday published an open letter to the boss of the Department Of Justice, Loretta Lynch, welcoming last week's conclusions over consent decree reform and 100% licensing.

The letter is signed by Republicans Jim Sensenbrenner, Blake Farenthold and Dave Trott, and Democrats Suzan DelBene, Gene Green and Jared Polis, and begins: "Assessing potential harm to competition arising from coordinated behaviour of competitors is the responsibility of the [DoJ's] Antitrust Division and we commend you for your diligence in this thorough review".

They go on: "Last week's announcement upholding the decrees with no modification is appropriate at this time. Further, we support the Department's clarification that under the decrees, ASCAP and BMI must use '100% licensing' and that this obligation has always been inherent in the consent decrees".

"We commend the Department's efforts to guarantee the fair and efficient licensing of public performance rights for musical works", they add. "Preserving the decrees as currently written will protect licensees acting in good faith, ensure that music is performed legally, and see that creators are compensated for their work".

And finally, expanding on the 100% licensing point, they said: "Moreover, we commend your staff for reaffirming that the consent decrees require ASCAP and BMI to license all of the works in their repertory. So-called 'fractional licensing' would hamstring the music marketplace. It is our understanding that the current blanket licenses allow for the '100% licensing' of a work by any one partial owner of the work. Were the Department to propose modifying the consent decrees to allow fractional licensing, it would paralyse the market for licensed music".

One of the side debates going on here is whether or not forcing 100% licensing onto BMI and ASCAP is retaining the status quo or instigating a radical overhaul. The six representatives – and others who support the DoJ's position – insist that 'fractional licensing' would be the innovation. Whereas the music industry insists that – even if the consent decrees have always in theory enforced 100% licensing – which the music publishers deny anyway – but even if they had, that's not the way the societies have operated to date, so the enforcement of 100% licensing will require a significant change.

Either way, it will be interesting to see how ASCAP fairs as it steps up its efforts in Washington. The music industry often faces strong competition in political circles from lobbyists representing the big broadcasters and big tech, especially in the US. And it often struggles to compete with those lobbies, especially where the issue being lobbied on is specifically about music rights, rather than wider copyright issues, where the music industry can lobby in unison with Hollywood and the big TV producers.

Of course, the US music publishers always have the nuclear option, which is to bail on collective licensing entirely. Sony/ATV boss Marty Bandier once suggested this was an option that could be considered when discussing the need for partial withdrawal, before the whole 100% licensing thing was even on the table.

Blowing up the collective licensing system would raise all sorts of challenges within the music industry itself – regarding songwriter contracts, reciprocal agreements with collecting societies worldwide and quite how you'd license small-time business customers directly – and the introduction of 100% licensing would reduce the impact of just a small number of publishers pulling from the American societies.

Though plenty of the licensees lobbying against consent decree reform benefit from collective licensing too, so the mere threat of blowing up the whole system might strengthen the music industry's hand. Though it would a dangerous bluff to play, and it's obviously not something BMI or ASCAP themselves would advocate.

But desperate times sometimes call for desperate methods. Though in the interim, perhaps ASCAP can just find six members of Congress to pen an open letter supporting their side of the argument.

Lawyers demand release of alleged KickassTorrents chief
Legal reps for Artem Vaulin, the man accused of running file-sharing hub KickassTorrents, have written to the US government requesting that it drop all the charges made against their client and that he be released from the Polish prison where he is currently incarcerated.

As previously reported, Vaulin was arrested in Poland last month at the request of the US government, which wants to extradite him to face charges of copyright infringement and money laundering. He subsequently hired the services of Ira Rothken, the American lawyer who has been leading the defence of MegaUpload founder Kim Dotom as he fights extradition attempts and copyright infringement charges in relation to his old business.

The letter from Rothken's firm, sent last week and published by Torrentfreak, requests that Vaulin not be interviewed by Polish or US authorities until they have had an opportunity to consult with the alleged Kickass chief directly, while also asking that the American government liaise with their Polish counterparts to arrange for that consultation to take place.

The letter then goes on to argue why the US should just go and drop all the charges made against Vaulin and allow him to leave jail. Rothken had already outlined the key argument when he confirmed he was working for the accused Kickass man: the file-sharing site never actually hosted any infringing content, which means it can only be held liable for what is variously called contributory, authorising or secondary infringement, and that's a civil rather than criminal matter under American law.

Or, in the words of the letter: "This alleged criminal copyright case arises out of an erroneous theory of criminal copyright law advanced by the United States that attempts to hold Artem Vaulin criminally liable for the alleged infringing acts of KAT's search engine users ... Defendants cannot be held criminally responsible for what users do after they leave the KAT search engine behind. The Copyright Act does not criminalise secondary copyright infringement".

Of course, we're still calling Vaulin the "alleged" owner of KickassTorrents, and on that point the letter says "discussion of Mr Vaulin's involvement in KAT shall await another day", with the correspondence focusing instead on technicalities of American copyright law.

The majority of legal actions against file-sharing operations to date have been civil rather than criminal. Though there have been some cases where those running file-sharing hubs – who were therefore liable for contributory rather than primary infringement – have been found guilty of copyright crimes, the most notable being the founders and funder of The Pirate Bay. Though, crucially for Rothken, that was a Swedish case, and, his argument goes, provisions for such criminal convictions are not available under American law.

It seems unlikely the US government will have a sudden change of heart regarding its case against Vaulin this side of any court hearing. Quite how long it will take to get the defendant into a Polish court, let alone an American courtroom, remains to be seen.


Led Zepp won't get legal costs covered despite success in song-theft case
A US court has ruled that the Wolfe Trust which pursued the plagiarism case against Led Zeppelin does not have to pay the winning side's legal fees.

As previously reported, the Wolfe Trust, which benefits from the estate of the late Randy Wolfe, aka Randy California, unsuccessfully sued Led Zeppelin. It claimed that 'Stairway To Heaven' was a rip off of Wolfe's song 'Taurus'. But the jury hearing the case decided that the two songs were not sufficiently similar to constitute copyright infringement.

Having successfully defeated the lawsuit, Led Zeppelin and their publisher Warner/Chappell sought to have their legal costs covered by the Trust, based on the argument that the entire case was "frivolous" and should never have been pursued in the first place. Warner also argued that the Wolfe Trust's Michael Skidmore and his lead attorney, Francis Malofiy, were guilty of "extensive and ongoing litigation misconduct", which pro-longed the case and added to the cost of fighting the action.

But the judge who oversaw the case, R Gary Klausner, despite frequently seeming exasperated with Malofiy during the court proceedings, has ruled that the Wolfe Trust's case was not frivolous, the plaintiffs did not have "nefarious motives", and Skidmore's lawsuit had sufficient merit for the case to go to full trial in the first place. Therefore, the judge concluded, there wasn't a case for forcing the Trust to pay the defence's fees.

Though Klausner did nevertheless get in a little diss in against Malofiy who, as previously reported, was banned from practicing law in Pennsylvania for three months after the Led Zeppelin case ended, albeit in relation to his conduct in another copyright case. Klausner said of the attorney: "Throughout the course of litigation, plaintiff's counsel demonstrated a tenuous grasp of legal ethics and a rudimentary understanding of courtroom decorum".

As also previously reported, Skidmore is already appealing the ruling in the song-theft case. If there is a round two, and if Malofiy is involved, perhaps he should read up on some legal ethics and courtroom decorum. Though if the defendants have to shell out more of their own money to defend themselves, maybe Malofiy shouldn't change one bit. At least that way the court case is more entertaining, meaning the defendants get a bit of courtroom comedy in return for their investment.


Man jailed for reselling football tickets
A man has been jailed for nine months for illegally re-selling tickets for Premier League and World Cup football games. The prison sentence was handed down because the defendant had breached a previous court order to stop illegally selling tickets to football matches.

Unlike other sorts of tickets, it is a criminal offence to resell tickets to football games without official authorisation in the UK, though it's not a law that is always enforced. A lack of enforcement, of course, is also a problem with the much lighter regulation that covers other kinds of ticket touting.

David Spanton was previously jailed in October 2012, though mainly for failing to even provide the tickets he was touting, with both music and sporting events involved in that case. In 2013, he was then given a court order requiring him to inform police whenever he purchased tickets or transferred funds.

In the latest court case, he was found to have breached both of those terms, purchasing 173 tickets to 24 Premier League football matches over the course of a year and making over £67,000 in undeclared credit transfers from outside the UK. "Despite the fact that he was given the freedom and opportunity to change his criminal behaviour, Spanton carried on regardless", Detective Sergeant Rob Tickle, from the Met's Organised Crime Command, told The Mirror.

In a statement, a Premier League spokesperson said: "Touts profit at the expense of genuine supporters and the unauthorised sale of tickets can lead to fraud and incidents of disorder within stadia. The Premier League works with the Metropolitan Police and other law enforcement agencies to combat the illegal sale of tickets and we strongly encourage supporters to only purchase Premier League tickets directly from their club or official ticketing partners".

UK festivals kept going by 'super fans' says new research
A quarter of UK festival-goers attend an average of four events a year each, according to new research carried out by ticketing firm Eventbrite. Dubbed the 'super fan', this type of festival-goer spends more per year on tickets – on average, £581 each – than all other types of festival fan that the survey identified combined.

As well as contributing financially, the research found that super fans also acted as ambassadors for their favourite festivals, keeping their friends informed of which events are cool. They also tend to be more active on social media, spreading the word that way too.

In terms of what attracts consumers at large to festivals – the survey found that for 32% of people it was the headliners, the second most popular factor being that friends were going, at 16%. The favourite genre of the average festival attendee is alternative/modern rock, at 59%, though that could be skewed by the programming of many British festivals. 43% of those surveyed also listed dance as one of their top genres.

Commenting on the research, Eventbrite's Marino Fresch said: "UK festivals have flourished to the point of saturation, so it's never been more important for promoters to know their customers. Our research indicates that a group of loyal super fans drive revenues, attendances and power the market. Festival promoters would do well to nurture the super fans of tomorrow".

You can download the full report here, if you think that's something you might like to do.

CMU backs live music prize at European Sponsorship Association awards
CMU is returning to the annual awards of the European Sponsorship Association next year as the official partner on the Live Music Sponsorship category. Brands and agencies involved in music sponsorship campaigns can currently put their projects forward for consideration. The deadline for entries is 30 Sep, though there is a early bird discount available on the entry fee for those who submit their projects before 19 Aug.

CMU MD and Business Editor Chris Cooke says: "We all know that brand partnerships have never been more key in the music industry than today, and that's especially true for live music, where many major events simply couldn't happen on ticket sales income alone. Though, while there are a plethora of music/brand partnerships every year, partnering up in a truly credible and mutually beneficial way still requires some clever ideas and strategic thinking, and it's great to be able to big up those projects that really get it right, to both the music business via CMU, but also to the entire European sponsorship community via the ESA's Excellence Awards".

Confirming the tie-up from the ESA's end, Jackie Fast, who chairs the Excellence Awards Committee, said: "The music industry is, and always has been, a massively important area of entertainment when it comes to sponsorship. The activation of various music campaigns is rightly held in high esteem, and we're proud to be able to partner with CMU for a second successful year in order that we can showcase the great work that's being done within the sector".

Confirmation of CMU's involvement in the Live Music Sponsorship award at the ESA event comes ahead of the CMU Insights masterclass 'Music Business Explained – For Start Ups & Brands', a beginners guide to the music industry specifically aimed at businesses looking to form partnerships with artists, festivals and other music companies.

On that, Cooke says: "People working within the music industry know that it can be a complex sector. Basically there are a number of separate music industries, because each artist has a different business partner for each aspect of their career: recordings, songs, live, merchandise, direct-to-fan. But brands utilising music as part of their marketing campaigns often want access to all those things. To succeed, therefore, it's good for brands to know a little about the structure of the music industry, the nature of each artist's business deals, and the copyright law that adds to the complexities. And we'll set out to explain all of that in just one afternoon!"

Tickets to the masterclass – which takes place on 26 Sep in London - are still available at the early bird rate of £99, with an additional discount available to ESA members. You will find full information here.

Meanwhile companies wanting to put themselves forward for the music category at this year's ESA Excellence Awards will find all the info they need here. Music campaigns are also eligible in other categories, including those focused on social media and PR.

Biffy Clyro VR experience to tour UK festivals
Biffy Clyro have created a special video for a new virtual reality experience that will be touring UK festivals over the next month. Fans will be able to watch the video while other bands are playing in actual reality outside.

The performance of 'Flammable' has been recorded to be shown in Samsung's Hypercube. The three and a half storey structure is kitted out with VR headsets allowing up to 50 people at a time to watch the performance from any angle they wish, which the brand reckons is dead immersive and all that.

"Biffy were the perfect partners for this", says Samsung Creative Director Ross Cairns. "From inception we focussed on marrying music and technology to appear effortlessly synchronised. We're delighted to bring the wonders of virtual reality to a generation of music fans in this way and demonstrate how we are empowering people to use technology in a way that allows them to experience the extraordinary. As a brand, we will continue to push the boundaries of what's possible, merging virtual reality with the real world".

If you want to have a go yourself, you'll have to head down to Boardmasters, Glasgow Summer Sessions or Bestival.


Bkstg loses CEO and President
Direct-to-fan app Bkstg has lost both its CEO and President in one fell swoop. Former AOL execs Ran Harnev and Erika Nardini both left the company last month, according to Billboard.

In the wake of their departures, James Sealey, who joined from the Three Six Zero Group in October last year, has been promoted to the role of COO, while founder Ori Birnbaum has taken on an undefined executive role. This news all arrives just over a year after Bkstg was trumpeting having raised $20 million of investment from the likes of Live Nation, Scooter Braun Projects, Modest! Management and the Three Six Zero Group.

The executive departures are not a sign that everything's going down the pan though. So stop thinking that. The company told MBW that Harnev and Nardini's departure was just because a "lack of music industry experience had become an issue".

Meanwhile, speaking to Billboard, a spokesperson added: "We have been working hard to provide exciting and engaging fan experiences around some of the worlds greatest artists and are currently running multiple artist and fan activations both in the US and internationally".

Everyone loves activations, don't they? Though do please remember to wash your hands afterwards.

  Approved: SaraSara
SaraSara makes music that is, I should get this out of the way up front, fucking weird. But also strangely comforting. She has just released 'Euphoria', the first single from her debut album 'Amorfati', which was co-produced with Matthew Herbert.

Speaking about her approach to music, she says: "Music definitely has a concrete function for me. It's not art for art's sake, it's an opportunity to get introspective. I always start from my point of view, my experiences, what I see around me, what I feel and I try to make something out of it, a kind of rule or manifesto for myself that will lead to concrete actions or decisions. My music is a write-up of this process in time. I hope in the end, people will enjoy it and even be able to relate to it".

The process may be very inward looking, but the gleefully experimental results feel very welcoming.

Listen to 'Euphoria' here.

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The Maccabees to split
The Maccabees have announced that they are splitting, having decided that they've done enough now. Though they have promised that there will be some sort of farewell send off.

"After fourteen years as a band we have decided to call it a day", the band wrote in a letter to fans. "The decision has obviously been an incredibly difficult one, given that The Maccabees has been such a huge part of our lives until now. We are very proud to be able to go out on our own terms, at our creative peak and off the back of the best and biggest shows we have ever done. There have not been fallings out and we are grateful to say that we are not leaving the group behind as a divided force. It has been a rare and absolutely incredible time that we all feel very lucky to have shared".

They added: "Though there are no concrete plans at this stage, we are all planning to continue making music. We are excited about the future and intend to move on, with some sadness, but with appreciation, affection and huge pride at the music we have made and all that we have achieved together".

As previously reported, last month Maccabees guitarist Felix White announced the launch of his new label and club night Yala.


Bow Wow to retire from music
Bow Wow has announced that he is retiring from the music industry, which is possibly the first time you've realised that Bow Wow was still in the music industry for several years.

In a series of tweets, the 29 year old rapper said that he'd always planned to retire before he was 30. Which might make you wonder why he bothered signing that new deal with Bad Boy Records last year. Well, in order to release his final album, of course.

"I always said years ago I'd retire from music before 30", he wrote. "I just can't see myself at 30 years old rapping. Made over 20 million off rap. Why be greedy? I'm good with everything I accomplished. I made it to the White House".

In an Instagram post, he added: "My last album will be executive produced by my uncle Snoop and myself. Since he brought me in the game, it's only right I involve him and end it with him. It's official! This shit bout to bang on mommas! And we aiming and I'm talking reckless on this album. Nobody safe. The title of my final album [is] 'NYLTH'.

Bow Wow's last album, 'New Jack City II', was released in 2009. Since then, he's built up a career in acting, both in TV and film. He will use his proper break from music to focus further on this and develop his own TV shows apparently.

Teenagers! Stop going to festivals when you have measles
Have you been to a festival this year? Well, you probably have measles now. I'm sorry that's just the way it is. Public Health England has warned that there have been a "significant number of cases [of measles] linked to music festivals and other large public events".

The government body says that 38 cases have so far been linked to such events in June and July of this year alone. Oh, that doesn't sound like a lot to you? Well, how about I tell you that there were 54 cases across the whole of England in total in the first six months of 2015. In the same period this year there have been 234.

Part of the problem, it is thought, is that young people who missed out on MMR vaccinations as children - during that spurious scare that the injections caused autism – are becoming teenagers and going of to music festivals. "Measles is extremely infectious and events where people are mixing closely with each other provide the ideal place for the infection to spread", warns PHE, adding that the effects of the virus can be more serious in teenagers.

PHE's Head Of Immunisation, Dr Mary Ramsay says: "Measles is a highly infectious viral illness that can be very unpleasant and sometimes lead to serious complications. So, if you think you might have measles, please don't go to any of these big events. Measles isn't common these days because most of us are vaccinated, but young people who missed their MMR jab as children are vulnerable, especially if gathered in large numbers at an event. If you think you've got it, call your GP or NHS 111. Please don't turn up at the surgery or at A&E as you could infect other patients".

And that's why you have measles now.

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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