TODAY'S TOP STORY: The European Commission yesterday published a draft new copyright directive which brings together various proposed changes to the European copyright regime stemming from the EC's much previously reported Digital Single Market initiative. A lot of the directive deals with copyright exceptions and a new right for newspaper and magazine publishers... [READ MORE]
TODAY'S APPROVED: Prior to his death in 2011, German avant-garde musician Conrad Schnitzler built up a vast archive of sounds from his daily experiments with synthesisers. Granted access to this library in 2010, producer Jens Strüver came up with the idea for the 'Con-Struct', providing other electronic experimentalists with the opportunity to take these sounds and work... [READ MORE]
CMU PODCAST: CMU's Andy Malt and Chris Cooke review key events in music and the music business from this summer, including the closure of Fabric, the launch of the FanFair campaign against secondary ticketing, and Frank Ocean's two new albums and how they contributed to the debate over streaming exclusives. The CMU Podcast is sponsored by 7digital... [READ MORE]
CMU TRENDS: Based on the keynote he delivered for Music Estonia last week, CMU Business Editor Chris Cooke considers the state of the music industry in 2016, and where the opportunities lie in the near future. As the streaming sector rapidly evolves, where next for recorded music, artist deals and direct-to-fan? CMU Trends articles are available to premium subscribers... [READ MORE]
TOP STORIES European Commission publishes copyright reform proposals including transparency and the value gap
Music industry responds to draft European copyright directive
LEGAL Beatles company sued over concert footage in new documentary
RELEASES Gold Panda and Laura Lewis publish photo book
FaltyDL announces new album
GIGS & FESTIVALS Korn and Limp Bizkit announce co-headline tour
Beth Orton to tour with Brodka (who is very good)
Steve Mason announces career-spanning Barbican show
ONE LINERS Taylor Swift, Spotify, Kings Of Leon, more
AND FINALLY... Snoop Dogg inspired by Beyonce, despite not drinking lemonade
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.
Your Army is looking for someone with a broad understanding of electronic dance music to be Club Promotions Assistant. Your role will involve researching and building relationships with tastemaker DJs, database management and reporting back to a wide range of labels and artists.

For more information including a full job description and how to apply click here.
Kartel Music Group is a global, independent label services company representing an internationally acclaimed roster of labels and artists. The role we are seeking to fill is a Promotions Executive within our in-house Promotions Department.

For more information including a full job description and how to apply click here.
Nottingham Trent Students' Union is recruiting for an enthusiastic individual to join its entertainments team. The Union operates across three campuses running a busy schedule of activity in its diverse venues. The Entertainments Supervisor will play a key supporting role in the programming and delivery of a wide range of entertainment.

For more information including a full job description and how to apply click here.
Name PR is looking to hire an Account Executive. This is a fantastic opportunity for a bright individual with exceptional writing ability and a good grasp of the music business to work on some of the UK and Europe's most interesting music issues.

For more information including a full job description and how to apply click here.
We are looking for a creative and motivated Marketing Assistant to join our friendly team, which organises events across the country including Wales’ largest music, arts and science festival, Green Man.

For more information including a full job description and how to apply click here.
We’re Youth Music. We're a national charity investing in music-making projects for children and young people facing challenging circumstances. The PA/Administrator will be responsible for managing the CEO’s diary, co-ordinating and administrating trustee meetings and ensuring the smooth running of Youth Music’s office on a day-to-day basis.

For more information including a full job description and how to apply click here.
Anjunabeats and Anjunadeep are looking for an experienced digital marketer to join our growing team in London. You will execute digital marketing campaigns for our releases, streaming playlists and tours with a specific focus on leveraging our social media network to drive results.

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For more information including a full job description and how to apply click here.
Involved Group is looking for an enthusiastic, highly organised and proactive individual to take on a new, wide-ranging office manager role within our growing operation. The successful candidate will have a can-do attitude, excellent attention to detail and experience implementing and managing office systems.

For more information including a full job description and how to apply click here.
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For more information including a full job description and how to apply click here.
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For more information including a full job description and how to apply click here.
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For more information including a full job description and how to apply click here.
Your Army are a developing media company known for promoting the likes of Disclosure, Christine & The Queens, Major Lazer and Duke Dumont, with offices in London and Los Angeles. They are looking for an Artist Manager to join their growing Artist Management Division. The ideal candidate will have at least two years experience of working within a management company, or a proven track record working independently, and have been managing a 'dance' act.

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
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
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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
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European Commission publishes copyright reform proposals including transparency and the value gap
The European Commission yesterday published a draft new copyright directive which brings together various proposed changes to the European copyright regime stemming from the EC's much previously reported Digital Single Market initiative.

A lot of the directive deals with copyright exceptions and a new right for newspaper and magazine publishers, though for the music industry it's the latter part of the proposals that matter, covering, as they do, the obligations of user-upload platforms, transparency over the digital exploitation of rights, and artist remuneration.

As much, much previously reported, for the record companies and music publishers, the Digital Single Market initiative has been a key opportunity to try to prevent user-upload platforms like YouTube (and mainly YouTube) from claiming protection under the so called safe harbours of copyright law. These say the providers of internet services are not liable if and when a customer uses said services to infringe copyright, providing there is a system in place for rights owners to have infringing content removed.

It is because of the safe harbours that YouTube is able to operate an opt-out streaming platform, where anyone can upload videos containing music. YouTube has to have a system in place via which rights owners can have videos containing unlicensed material removed - and it does in Content ID - however it is not liable for unlicensed music on its servers until made aware of it by a label or publisher.

The music industry reckons that safe harbours - which were designed back in the 1990s really for internet service providers and server hosting companies - shouldn't apply to platforms like YouTube. And it hopes that through the latest round of European copyright reform the safe harbours can be refined so that the Google video site, and similar services, no longer enjoy the protection.

This would force YouTube to either take responsibility for all the music on its site, or to secure blanket licences with the music companies and collecting societies; pretty much like the licences it already has, but with the music industry's negotiating hand strengthened, likely resulting in a better deal for labels and publishers, more akin to those entered into by opt-in streaming services like Spotify and Apple Music. The difference between the monies paid by opt-out and opt-in platforms constituting the much discussed 'value gap'.

Early updates on the Digital Single Market project didn't put safe harbours especially high up on the agenda, but the music industry's lobbyists have nevertheless secured a section in the proposed directive attempting to tackle this issue, which is an achievement in itself. Though, as is often the way, in its current form article 13 of the directive is sufficiently waffley - including a sentence so long no one will quite remember how it began - that there will be some room for manoeuvre on the side of the platforms.

Says the draft: "Information society service providers that store and provide to the public access to large amounts of works or other subject-matter uploaded by their users shall, in co-operation with rightholders, take measures to ensure the functioning of agreements concluded with rightholders for the use of their works or other subject-matter or to prevent the availability on their services of works or other subject-matter identified by rightholders through the cooperation with the service providers".

Yeah, tell me what you just read there. Basically, in there is the makings of a new obligation for services that host "large amounts of works" that have been "uploaded by users" to work with rights owners on either licensing deals or content-blocking.

Though specifics are lacking - and much of that YouTube already does voluntarily - though the fact that services might be obliged to work with rights owners in that way could strengthen the negotiating hand of labels and publishers, which is ultimately what they want.

While most of the music industry types commenting only "cautiously" welcomed the proposed directive, often calling it a good "first step", the fact that Google's VP of Global Policy identified "worrying elements" in the proposals probably means the current drafting of article 13 is better news for the music industry than it is for YouTube.

Caroline Atkinson wrote in a blog post: "[There are] worrying elements, given that the web depends on users' ability to share content. Today's proposal suggests that works including text, video, images and more must be filtered by online services. This would effectively turn the internet into a place where everything uploaded to the web must be cleared by lawyers before it can find an audience".

While many artists and songwriters share the concerns of the labels and publishers over the big bad value gap, they also have other concerns about the emerging digital music economy. Especially with regard to the lack of transparency around how the music rights companies do deals with and process royalties from streaming services, and over how digital income is shared, with a feeling performers - and especially heritage artists - are getting a bad deal.

To that end, artists and their representatives have been lobbying too, resulting in articles 14-16 of the directive. For the Music Managers Forum, they are the most important elements of the proposals, with the artist management trade group reckoning that there is also a "value gap" between rights owners and creators that also needs sorting out. The latter articles start that process but, like article 13, they are more of a "first step"

The MMF says: "Article 14 introduces the concept of transparency between creators and rights owners, which is to be welcomed. [But] some of the wording is tenuous and we look forward to clarifying it so that creators have certainty".

It goes on: "Article 15 ensures that creators who signed contracts decades ago can be remunerated in a fair way by seeking extra income from rights owners for uses that weren't even dreamed of when the rights were assigned. Article 16 recognises that creators have limited funds or will to instigate legal action to enforce Articles 14 and 15 and mandates member states to provide resolution mechanisms instead".

Pan-European indie label trade group IMPALA, while more vocal on the safe harbours point, acknowledges these elements of the directive too, reckoning that through the Worldwide Independent Network's Fair Digital Deals Declaration, its members have already made good moves on these issues. Though it did also air some caution, with its chief Helen Smith stating: "Further work is needed to ensure the contract adjustment provision does not go beyond its original intention. We need to be able to maintain our current levels of investment and risk. This is important because 80% of all new releases rely on investment from independent music companies".

You can read the draft directive in full here. Those proposals now go the European Parliament and the Council Of The European Union for input and amendment, a process that could take just over a year, or something like three years. Once passed, member states then have a set time - one year is currently proposed - to ensure their individual copyright regimes are compliant with the directive.

So nothing is going to happen over night here, and who knows where the digital music market will be in three or four years time, and quite what YouTube's role will be in the wider scheme of things by then.

And, of course, there's a definite chance that by the time this directive is passed it will have no bearing at all on a Brexited Britain, though UK artists and music companies will continue to be streamed at a high rate across the rest of the European Union, so the outcome of all this will be of significance to the British music community either way.


Music industry responds to draft European copyright directive
Lots of people in the music community had things to say about yesterday's draft new copyright directive for the European Union, and here they all are, saying things. For those of you playing buzzword bingo, today's featured words are "value", "framework", "first step" and "sustained growth". Oh, and it's two shots for "level playing field"

International Federation Of The Phonographic Industry CEO Frances Moore...
"The music industry has transformed itself in recent years, licensing hundreds of services, widening choices for consumers and investing in new, creative ways to bring artists to a global audience. But to achieve sustainable growth, the music sector needs a level playing field. This means creating an environment where copyright rules are correctly applied so that creators and producers can be confident to invest and license. It also means allowing digital services to compete on fair terms and enabling consumers to enjoy access to diverse sources of licensed music".

"Today's proposal is a good first step towards creating a better and fairer licensing environment in Europe. Importantly, it confirms that user uploaded content services such as YouTube, which are the largest source of on-demand music, should not be able to operate outside normal licensing rules. However, there is a lot more to do to make this a workable proposal. We look forward to working on this in the coming months with the parliament and member states".

IMPALA's Executive Chair Helen Smith...
"Our members work hard with a whole range of services on a daily basis to meet citizens' thirst for music. This proposal is a good first step to help the legal framework to catch up with market reality by clarifying the situation of platforms which provide large scale access to music and other protected works".

"For everyone in the music ecosystem to benefit, the starting point is fair negotiations and remuneration for creators and their partners. This is vital for artists' self-determination and freedom of expression. More work is needed to make sure the draft is fully effective, but this is a good start. This proposal will help remove some of the friction in the licensing market. It will also stop services providing discriminatory access to their content identification systems".

BPI CEO Geoff Taylor...
"Record labels are the key investors in new music and welcome the clear acknowledgement from the Commission that we need a level playing field for digital music. UGC platforms such as YouTube are building huge businesses using music and other content while paying only a fraction of the royalties paid to artists and labels by services such as Spotify and Apple Music. This is not only unfair to artists, it distorts the growth of the music streaming market and undermines the ability of labels to invest in brilliant new music".

"The explosion of music streaming offers the prospect of a new era of sustained growth for British music, but this potential will only be realised if the EU and UK Government fix the fault-line that lies at the very heart of the digital music market. It is very encouraging that the EU has begun the process of doing so".

International Confederation Of Music Publishers Director General Coco Carmona...
"We think that this package is a step in the right direction to guarantee that the value generated by online platforms when using copyright protected content is fairly shared with rightsholders. We are also satisfied that the Commission has recognised that music publishers make an economic and creative investment that is worth protecting and as a result, have the right to claim a share of compensation for uses of works under an exception to copyright. But more needs to be done so we will continue working with both the Council and the European Parliament in order to strengthen the rights of authors, composers, music publishers and other players in the creative value chain".

Independent Music Publishers Forum President Pierre Mossiat...
"The provisions designed to address the issues are not sufficiently robust or concise and the package does not give adequate direction to member states. Without clear regulatory guidance the interests of big business will continue to jeopardise the livelihoods of songwriters all around Europe".

"Transfer of value, or the value gap, is about achieving a decent earning for creators from large platforms, such as YouTube, that benefit financially and disproportionately from the creative work of artists. Failing to address this adequately, endangers the livelihoods of creators and at the same time, compromises the freedom of consumers, as they need to have broad access to legal and diverse cultural content".

"The bottom line is that authors and composers must be compensated for their work. This much anticipated copyright package, while a step in the right direction, has quite some way to go to achieve the level of compensation for the use of their work that songwriters and indie music publishers, the core small businesses in the creative music field in Europe, need".

PRS For Music CEO Robert Ashcroft...
"PRS For Music welcomes the Commission's recognition of the critical 'transfer of value' issue and we acknowledge the clear intention to redress the current imbalance of interests between user upload platforms and rightsholders. The law must clearly establish that those user upload platforms that provide search and other functionality, as distinct from being mere hosts of content, require a licence from rightsholders. The European Commission's proposed new copyright directive provides the framework for this essential legal clarity".

"Europe is our largest export market and, even outside of the European Union, its copyright framework will directly impact UK creator's earnings. Therefore, we hope that the EU Parliament and Council will grasp this opportunity to establish a functioning, digital single market - as this is in the interests of all concerned: creators, consumers and platforms, new and established".

Music Managers Forum President Jon Webster...
"The MMF has been arguing for reasonable remuneration for the artists who helped build this industry in the 60s, 70s and 80s and it is good to see that finally recognised. Transparency has all but disappeared in the last ten years and that's not acceptable. These measures should help to address that".

Music Managers Forum CEO Annabella Coldrick...
"We call upon the other members of the value chain to recognise the need for these changes and to work together to strengthen not dilute them so creators can track and be remunerated for uses of their works".

Beatles company sued over concert footage in new documentary
Beatles company Apple Corps is being sued over the new Ron Howard-directed documentary 'The Beatles: Eight Days A Week', which will premiere in cinemas and on video-on-demand service Hulu this weekend. The litigation relates to 30 minutes of footage of the band's famous concert at the Shea Stadium in New York in 1965, which is featured in the documentary.

The lawsuit is being pursued by Sid Bernstein Presents LLC, the company of the late American concert promoter who promoted the 1965 show. The firm argues that it is the rightful owner of the copyright in the film, because Bernstein instigated and paid for the show to take place.

The original concert film was actually made by Ed Sullivan's Sullivan Productions, Brian Epstein's NEMS Enterprises and the Beatles own Subafilms company, and it seems those entities were of the opinion that they were the copyright owners.

Sid Bernstein Presents itself acknowledges that Apple Corp and Subafilms subsequently acquired the rights in the film via a deal with Sullivan Productions and NEMS. But, the Bernstein company seems to say, that wasn't a deal Sullivan Productions and NEMS were in a position to do.

Says the lawsuit: "By reason of being the producer of and having made creative contributions to the 1965 Shea Stadium performance, as well as being the employer for hire of the Beatles and the opening acts, who performed at his instance and expense, Sid Bernstein was the dominant, and hence sole, author of the copyrightable work embodied in the master tapes, and the sole owner of all exclusive rights therein".

According to Billboard, once the Bernstein company became aware of the plan to include a 30 minute remastered version of the Shea Stadium film as part of the new documentary, it first unsuccessfully attempted to confirm its ownership of the rights in the recording with the US Copyright Office, and then asserted its rights anyway to Apple Corp, urging the firm to enter into a licensing deal around the content. But no such deal occurred.

The lawsuit wants the courts to confirm Sid Bernstein Presents as the owner - or at least co-owner - of the copyright in the Shea Stadium footage, and that any future or previous use of the concert film without the plaintiff's permission constitutes copyright infringement.

Apple Corps is yet to respond.

Meanwhile, surviving Beatles Paul McCartney and Ringo Starr are due to attend the film's premiere at the Odeon on London's Leicester Square tonight. Here's the trailer.

  Approved: Conrad Schnitzler & Schneider TM
Prior to his death in 2011, German avant-garde musician Conrad Schnitzler built up a vast archive of sounds from his daily experiments with synthesisers. Granted access to this library in 2010, producer Jens Strüver came up with the idea for the 'Con-Struct', providing other electronic experimentalists with the opportunity to take these sounds and work them into new compositions.

For the latest instalment of this project, Schneider TM, aka musician Dirk Dresselhaus, takes a turn. Of the project, he says: "I wanted to get as close to [Schnitzler's] spirit as possible, so I created a musical situation as if we were actually collaborating together in the same room, with Conrad playing his pre-recorded sound-files or modular system and me dubbing and processing it live on the fly... almost as if it was a live-concert situation".

"Next to many other aspects of Schnitzler's vast oeuvre, I am fond of the noisy, polyharmonic, polyrhythmic and sometimes quite humorous minimalism of his music, as well as his way of using chance, which often leads to magical and raw beauty", he continues. "There are no other sounds on this record except for ones created by Schnitzler, sent through my system and processed live".

Listen to snippets of the whole record, released on 18 Nov, here, and hear the track 'Doozer' in full here.

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Gold Panda and Laura Lewis publish photo book
Gold Panda's latest album, 'Good Luck And Do Your Best', began as a collaboration with photographer Laura Lewis, documenting a trip to Japan, as we have previously mentioned. "But what happened to the visual side of that project?", you might be wondering. Well wonder no more, because those photos will appear in a new book, also called 'Good Luck And Do Your Best'.

Says Lewis: "Derwin [she uses Gold Panda's real name because they are friends] and I met in early 2014 after Gareth Dobson at Wichita Recordings had given him a copy of my book 'People. Places. Things'. Derwin had some rough ideas for a project - which would eventually become his third album - and asked if I'd like to accompany him on a trip to Japan to take photographs. We spent two weeks travelling and adventuring in various places throughout Japan. I really fell in love with Japan - the country and the people, their hard-working demeanour and the ever-present concept of doing one's best".

Japan is good, it's true. Here's Gold Panda's version of that same story: "In 2014 I was introduced to Laura through a mutual friend and we decided to see - through sound recording and photography - if we could capture what I liked about the places I visit on my trips to Japan. We didn't have a set plan but rather than find tourist spots or even places off the beaten track, we decided to explore suburbia. Places that might be considered mundane and boring by the people living there. Laura's photos inspired me to make another record. I pinned some images up in my studio and got to work. Happily, a couple of Laura's photos became the artwork for the album but it became clear that in order to let each photo breathe, we would need a better medium".

The book is available now and looks like a real nice thing that you should buy for me.


FaltyDL announces new album
FaltyDL has announced that he will release a new album called 'Heaven Is For Quitters' on 21 Oct. Its first single, 'Drugs', features vocals from Rosie Lowe.

"The song is very personal to me for a few reasons", says FaltyDL of the single. "Drugs have been a character in my life for as long as I can remember, both good and bad. This collaboration is like an exorcism, aided by the lovely voice of Rosie Lowe. It is also a key anchor on my new album which I spent a long time creating, pouring my entire self into for two years".

Of that overall album, he adds: "This album took two years to make, more time than I have ever spent on anything in my life. 'Heaven Is For Quitters' is at its core, about dealing with yourself, both the good and the bad. I share this album with the hope that it can be used by others as I have; a guide, a blanket, a reassurance that the path I have chosen is the right one. It is my job to share my experience and there is a lot of work to be done here on Earth, the thought of going to Heaven too early is paralysing. I venture to think you'll agree".

Watch the video for 'Drugs' here.

Korn and Limp Bizkit announce co-headline tour
Korn and Limp Bizkit have announced a co-headlining tour of the UK this December. The first time I ever saw Limp Bizkit was supporting Korn at Brixton Academy in 1997. True story. Pitchshifter were on first. What a line-up.

My main memory of that night is Fred Durst saying, "Who here likes George Michaels?" before Limp Bizkit played their cover of 'Faith'. I think that might have been the start of my tendency to unnecessarily pluralise words for my own amusement, but who can really say?

Anyway, who knows what Fred Durst might say this time which may or may not prompt a teenager to invent a stupid game in their head that keeps them entertained for the next 20 years? I wonder what Korn think. "We're really proud of our new album and we can't wait to play these songs for our amazing fans in the UK, they are some of the best in the world! This tour is gonna be sick!"

I don't think any of that related to what I was saying. Try harder next time, Korn. Limp Bizkit have not issued a statement, because they are obviously saving themselves for inspirational crap-word-game-triggering at the shows themselves.

Tickets for the shows go on sale on Friday. The dates are these:

12 Dec: Manchester Arena
14 Dec: Glasgow, SSE Hydro
15 Dec: Birmingham, Barclaycard Arena
16 Dec: London, Wembley Arena
18 Dec: Cardiff, Motorpoint Arena
19 Dec: Nottingham, Motorpoint Arena

Oh, and look, here's the video for Korn's new single, 'Rotting In Vain'.


Beth Orton to tour with Brodka (who is very good)
Hello. Just wanted to let you know that Beth Orton will be touring the UK later this month and on into October. This news is of particular note because she will be supported by Brodka, who is very good. Not that Beth Orton isn't very good, but you probably already have an opinion on that one way or the other. But you may not, despite my prompting, have formed an opinion on Brodka, so I thought I'd let you know mine (again). I think that she is very good, in case I haven't made that clear.

Anyway, here are the dates of all the shows, at which there will be performances by both Beth Orton and Brodka (very good):

24 Sep: Norwich, Waterfront
25 Sep: Cambridge, Junction
27 Sep: Gateshead, Sage 2
28 Sep: Birmingham, Institute 2
29 Sep: Bristol, Anson Rooms
1 Oct: Oxford, Academy 1
2 Oct: Glasgow, Saint Lukes
3 Oct: Leeds, Beckett Students' Union
4 Oct: Manchester Cathedral
6 Oct: London, The Forum


Steve Mason announces career-spanning Barbican show
Steve Mason will play a special one-off show at the Barbican, performing songs from across his career, from the Beta Band and his various solo projects as King Biscuit Time, Black Affair and under his own name. It sounds great, let's all go.

Mason will perform will a full band, plus a six-piece brass section and three gospel vocalists conducted and arranged by Joe Duddell.

The show will take place on 27 Jan in the year 2017. Tickets will go on sale tomorrow. In the year 2016. Don't forget. More info here.

Taylor Swift, Spotify, Kings Of Leon, more

Other notable announcements and developments today...

• Taylor Swift recently re-signed with music publisher Sony/ATV, says Sony/ATV, which is "proud to say Taylor's new deal reflects her record-breaking achievements and recognition as one of the world's greatest songwriters". Does that mean they bought her a cake?

• Kris Chen is the new SVP of Warner label Nonesuch Records in New York, jumping over from XL Recordings where he was head of US operations for over a decade. "Simultaneous" says his new boss, Nonesuch Co-President David Bither.

• James Murtagh-Hopkins, most recently comms guy at trade body UK Music, is joining Universal Music as its Senior Director, Communications. I've no idea what that involves, but hey, he's the PR, I'm the journalist, I'm sure he can tell me over lunch. Steak please.

• "40 is the new 30. Million" says Spotify boss Daniel Ek in a tweet. Which presumably means the streaming firm now has 40 million paying users. To celebrate Chief Revenue Officer Jeff Levick and long-time Spotify exec Jonathan Forster have both left the building.

• SoundCloud Go has launched in Australia and New Zealand, priced at AUS$11.99 or NZ$12.99, depending on where you subscribe.

• Kings Of Leon have released the video for new single 'Wasted'.

• Wow, Beck has released a new video.

• Does anyone else remember the interview on 'Going Live' (or maybe 'Live & Kicking') where Macho Man Randy Savage explained inappropriately how he came up with this name? I can't find it on YouTube or anything. I can find Justice's new single 'Randy', but that's not much help.

• Years & Years have made a new track and put it on the soundtrack of 'Bridget Jones' Baby'. Here's a minute of it, because apparently you can't handle more than that.

• Sophie Lowe has released the video for new single 'Mean', a collaboration with Twinkids.

• SaraSara has released the video for 'Euphoria', and you can watch it here.

• Giggs will be playing The Forum in Kentish Town on 11 Nov. Tickets on sale tomorrow.

Snoop Dogg inspired by Beyonce, despite not drinking lemonade
Snoop Dogg has said that the title of his new album 'Coolaid' was inspired by Beyonce's 'Lemonade'.

Speaking to Rolling Stone, he said: "I watched 'Lemonade' and was like, 'Damn'. The music is dope, and the visuals are fly as fuck. But I don't drink lemonade; I drink Kool-Aid".

I think we can all empathise with the frustration of something being named after something you don't use yourself. I always holiday on the light side of the moon, for example. So, much as I respect Pink Floyd, their album 'The Dark Side Of The Moon' doesn't quite sit right with me.

"I decided to call my shit 'Coolaid', since I brought so much flavour to the game", he continued. "I'm what they consider one of the coolest motherfuckers in hip hop and life in general".

"I made a visual album too", he added, throwing in information that might have been useful earlier in this conversation.

Then asked if he is worried about losing his gangsta rap reputation, he said: "Nah, because I ain't nineteen no more. I don't gangbang. You're dealing with a grandfather, the uncle to the hip hop game. He's made a full 360 from where he was to who he is - and that's what we love about him. He's a great example of what you can be".

For clarity, that entire paragraph was related to Snoop Dogg.

ANDY MALT | Editor
Andy heads up the team, overseeing the CMU bulletins and website, coordinating features and interviews, reporting on artist and business stories, and contributing to the CMU Approved column.
Email (except press releases, see below)
CHRIS COOKE | MD & Business Editor
Chris provides music business coverage and analysis. Chris also leads the CMU Insights training and consultancy business and education programme CMU:DIY, and heads up CMU publisher 3CM UnLimited.
Email (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 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.
Send ALL press releases to - 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
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CMU, UnLimited Media, Kemp House, 152 City Road, London EC1V 2NX
t: 020 7099 9050 (editorial) 020 7099 9060 (sales) |