THURSDAY 15 DECEMBER 2016
TODAY'S TOP STORY: Australia has joined the web-block party, and just in time for Christmas! Don your festive jumper, dish out your secret Santa gifts and do whatever other nonsense things people do at this time of year. Just don't try accessing The Pirate Bay from an Aussie internet connection. As much previously reported, web-blocking - where a court orders internet service... [READ MORE]
 
TODAY'S APPROVED: Every day this week in the CMU Approved slot, we'll be looking at one of our five favourite artists of 2016. Today, Riz MC. Riz Ahmed is best known to the world at large now as an actor. This year, you may have seen him the new 'Jason Bourne' film, and you'll be able to catch him in the new 'Star Wars' movie this weekend. But his ascent in Hollywood doesn't seem... [READ MORE]
 
CMU PODCAST: CMU's Andy Malt and Chris Cooke review key events in music and the music business from the last week, including YouTube and the IFPI's disagreement over whether $1 billion is 'a lot' or 'not nearly enough', SFX's big rebrand as LiveStyle, and Irving Azoff's Global Music Rights accusing the US radio industry of being anti-competitive. The CMU Podcast is sponsored by 7digital. [READ MORE]
 
CMU TRENDS: The story of the music industry is one of regular technological leaps that change the music-making process, the consumer experience and the business, meaning that just as everyone gets used to one set-up, something comes along that changes everything. We review the tech about to have a significant impact on the music industry. CMU Trends articles are available to premium subscribers... [READ MORE]
TOP STORIES Australian court orders ISPs to block The Pirate Bay
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LEGAL Former moneylenders sue American Idol owner over allegedly dodgy dealing
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LABELS & PUBLISHERS Australian collecting societies announce plans for combined public performance licence
Decca launches publishing division
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LIVE BUSINESS Bestival is moving
DHP Family announces plans for The Garage
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ARTIST NEWS Lady Gaga agrees to Piers Morgan interview, after he questions PTSD diagnosis and rape
Andrew Lloyd Webber "discovered" Rihanna but did nothing
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ONE LINERS Warner Music, BMG, Clap Your Hands Say Yeah, more
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AND FINALLY... Listening to AC/DC makes you bad at board games (and surgery)
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Click JUMP to skip direct to a section of this email or ONLINE to read and share stories on the CMU website (JUMP option may not work in all email readers). For regular updates from Team CMU follow us on Twitter, Facebook or Tumblr.
 
 
ATC LIVE - MANAGEMENT ACCOUNTANT (LONDON)
ATC Live is recruiting for a Management Accountant to take responsibility for our daily artist accounting process. This is a new post within the finance team at ATC; the successful candidate will have final responsibility for all daily accounts processes associated with our artist's bookings.

For more information including a full job description and how to apply click here.
   
THE TICKET FACTORY - SPORTS & ENTERTAINMENT MANAGER (LONDON)
The Ticket Factory is looking for a new Sports & Entertainment Manager. This is a great opportunity to join a dynamic part of the live entertainment industry, enjoying the fun along the way and driving the future of The Ticket Factory in the capital.

For more information including a full job description and how to apply click here.

   
IDOL UK - GENERAL MANAGER (LONDON)
IDOL is seeking a new General Manager to look after its UK operations that recently reached a new milestone with the signing of a partnership with a key independent actor of the market. Reporting directly to the Paris-based Head Of International, the candidate will manage a label manager and gradually develop the UK team according to the activity growth.

For more information including a full job description and how to apply click here.

   
ELEVEN SEVEN MUSIC - DIGITAL MARKETING & SALES MANAGER (LONDON)
Eleven Seven Music Group are seeking a Digital Marketing & Sales Manager to join their team in London. Eleven Seven Music Group is an independent record label headquartered in New York City with offices in Los Angeles and London.

For more information including a full job description and how to apply click here.

   
OUTPOST GROUP - MUSIC SERVICES ACCOUNT MANAGER (LONDON)
We are looking for a sharp, motivated and ambitious music industry professional to lead a new music services company, to launch early 2017. You will need a minimum of two years experience in a music role with good all-round knowledge of the music business, particularly PR.

For more information including a full job description and how to apply click here.

   
CR2 RECORDS - DIGITAL CONTENT/RIGHTS MANAGER (LONDON)
Cr2 Records is looking for an experienced Digital Content / Rights Manager to manage the scheduling and delivery for digital releases to all retailers ensuring quality control and accurate, timely delivery. The applicant will also be responsible for producing detailed sales data and also registering all repertoire with relevant collection societies for both copyright and publishing.

For more information including a full job description and how to apply click here.

   
THE O2 - MARKETING MANAGER, BRANDS & ATTRACTIONS (LONDON)
We are now looking for a Marketing Manager – Brands and Attractions, to join the Marketing team based at The O2. You will play a pivotal role in bringing to life the brand proposition across all veins of the business, driving footfall to the venue and driving ticket sales for Up at The O2.

For more information including a full job description and how to apply click here.

   
GIGREV - BUSINESS DEVELOPMENT MANAGER (LONDON)
The Business Development Manager will be responsible for leading the charge in researching, generating, and contacting potential clients that benefit GigRev’s services. Our client base is artists, bands and vloggers.

For more information including a full job description and how to apply click here.

   
THE O2 – SPECIAL EVENTS TICKETING MANAGER (LONDON)
We are looking to hire a Special Events Ticketing Manager on a six month fixed term contract. You will manage the event ticketing process for special events to include but not limited to exhibitions, corporate/private events (arena and non-arena) and external site wide events.

For more information including a full job description and how to apply click here.

   
THE O2 – MARKETING ASSISTANT (LONDON)
We are looking for a Marketing Assistant, to join the Marketing team based at The O2 for a one year fixed term contract. You will support all areas of Marketing and Communications across the AEG Europe businesses, including, The O2, AEG Live and Thames Clippers.

For more information including a full job description and how to apply click here.

   
ATC LIVE - GENERAL MANAGER (LONDON)
ATC Live is a live booking agency based in Camden, London, created to provide artists with a new style of representation, bringing an unparalleled level of creative and strategic thinking to our artists. Due to expansion we are looking for a General Manager.

For more information including a full job description and how to apply click here.
 
CMU Jobs is a proven way to recruit the best music business talent for roles across the industry at all levels, from graduate to senior management. To book an ad contact Sam on 020 7099 9060 or email ads@unlimitedmedia.co.uk
 
 
A guide to upcoming events from and involving CMU, including seminars, masterclasses and conference sessions from CMU Insights and workshops from CMU:DIY, plus other events where CMU journalists are speaking or moderating.
 
Jan-Mar 2017 CMU Insights Seminar: The How The Music Business Works Programme
CLICK FOR INFO
23 Jan 2017 CMU Insights Seminar: Making Money From Music
CLICK FOR INFO
30 Jan 2017 CMU Insights Seminar: How Music Rights Work
CLICK FOR INFO
6 Feb 2017 CMU Insights Masterclass: The Key Developments In Music Rights
CLICK FOR INFO
6 Feb 2017 CMU Insights Seminar: How Music Licensing Works
CLICK FOR INFO
13 Feb 2017 CMU Insights Seminar: The Music Rights Sector
CLICK FOR INFO
20 Feb 2017 CMU Insights Seminar: Merch, Live & Brands
CLICK FOR INFO
27 Feb 2017 CMU Insights Seminar: Building A Fanbase - Social Media Tools
CLICK FOR INFO
6 Mar 2017 CMU Insights Seminar: Building A Fanbase - Music Media
CLICK FOR INFO
13 Mar 2017 CMU Insights Seminar: Building A Fan-Orientated Business
CLICK FOR INFO
 

Australian court orders ISPs to block The Pirate Bay
Australia has joined the web-block party, and just in time for Christmas! Don your festive jumper, dish out your secret Santa gifts and do whatever other nonsense things people do at this time of year. Just don't try accessing The Pirate Bay from an Aussie internet connection.

As much previously reported, web-blocking - where a court orders internet service providers to block access to copyright infringing websites - is a preferred anti-piracy tactic of the music and movie industries in countries where such injunctions are available. In Australia a change in copyright law last year made web-blocking an option for rights owners.

The first cases being pursued under that new law were led by TV company Foxtel and movie firm Village Roadshow and targeted The Pirate Bay, Torrentz, TorrentHound, IsoHunt and SolarMovie. Although the new law specifically allows web-blocking, this first case was a test of exactly how the new anti-piracy procedure will work in Australia. And in a judgement earlier today, both the rights owners and the ISPs got some of what they wanted.

The court duly granted web-blocking injunctions against the five targeted sites, giving net firms Telstra, Optus, TPG and M2 fifteen days to stop their customers from accessing those particular piracy platforms. However, the ISPs enjoyed some success in limiting the reach of those injunctions and in getting their costs covered.

It's no secret that the main problem with web-blocking as an anti-piracy tactic is that as soon as you block the domain of a piracy site proxies pop up that make it easy for users to circumvent the blockade. The rights owners wanted a system whereby they could demand ISPs block the proxies without going back to court, as happens in some other countries. But the judge hearing the case wasn't convinced that that was a good idea.

According to iTnews, the lawyer speaking for Foxtel and Village Roadshow, Richard Lancaster, told the court earlier this year that the proxy issue "is a known problem in the real world. It will be a problem that arises in the implementation of your honour's orders. And we're concerned - given this is the first [Australian web-block] case - that a procedure be adopted that will not create a real administrative burden for the future in having to do something unnecessary and elaborate such as the [internet firms] suggest".

The net providers argued that filing new papers with the court wouldn't actually be all that more of an "administrative burden" than filing papers with the ISPs direct whenever proxies appear. Judge John Nicholas agreed that the blocking of proxies should be subject to judicial oversight. He wrote in his judgement today: "Whether the terms of any injunction should be varied to refer to additional domain names, IP addresses or URLs is a matter for the court to determine in light of evidence".

On the costs front, in the main Nicholas ruled that the rights owners should cover the admin, legal and tech costs associated with the web-blocks. Though the biggest of those costs are for 'setting up' web-blocking mechanisms, meaning in theory any subsequent applications for web-block injunctions should be more cost effective for the rights owners.

It's thought that today's ruling will set in place a framework that will apply to future web-block applications. The music industry has already launched its own web-block application targeting the now defunct KickassTorrents - a case that was put on hold pending the outcome of this one - and which could now continue targeting mirrors of the KAT site that sprung up after the main platform was taken down by the US authorities in July.

Former moneylenders sue American Idol owner over allegedly dodgy dealing
Following Simon Fuller's legal wrangling earlier this year with the company that owns the 'Idol' franchise he created, now the firm's former moneylenders have gone legal in a potentially explosive case.

As previously reported, Core Media was originally a venture led by entertainment industry veteran Robert FX Sillerman which bought stakes in the Elvis Presley and Muhammed Ali brands and acquired various media assets, principally Fuller's 19 company and the 'Idol' talent show franchise it had successfully developed.

Sillerman ultimately departed the company and went on to set up his doomed dance music enterprise SFX, while Fuller also gave up his executive role at the business but continued to consult on the TV shows he had created, which included 'So You Think You Can Dance' as well as the various 'Idol' franchises.

Private equity company Apollo Global Managment acquired the business in 2011, subsequently selling the stakes in the Presley and Ali brands to focus on Core's media operations, and later forging an alliance between it and another media firm it owned, Endemol, and 21st Century Fox's Shine Group, to create a reality TV powerhouse.

During that time the 'Idol' franchise started to wane, and its flagship show 'American Idol' aired for the final time earlier this year. Once the final 'American Idol' final had occurred, Core Media applied for chapter eleven bankruptcy protection. That led to the run in with Fuller, who hit out at Core Media's plans to restructure its debts and sought to propose his own plan for taking the firm out of bankruptcy. For its part, Core successfully requested that the court cancel its ongoing consultancy agreements with Fuller.

In September, the bankruptcy court in New York then approved Core's reorganisation plan, which saw the firm's moneylenders receive significantly less than they were owed, in some cases pennies on the dollar. Now the 'litigation trust' set up for Core creditors by the bankruptcy court has filed a lawsuit accusing Apollo of dodgy dealing in relation to the Core/Endemol/Shine arrangement.

According to Courthouse News, the lawsuit claims that the terms of two loans worth $360 million that helped finance Apollo's acquisition of Core in 2011 said that all owed monies must be repaid if control of the company changed, while if any merger took place, the merged entity must take on any outstanding liabilities to the money lenders.

The lawsuit states: "The lenders imposed these restrictions on Apollo to ensure that Apollo had 'skin in the game', and would not be able to effectively take value away from Core, or enjoy an exit event, in ways that would disrupt the lenders' ability to be repaid by Core under the lending agreements".

The lawsuit then basically alleges that the Endemol/Shine deal pretty much gave the newly created Endemol Shine Group control of Core and its assets - so, it was a change of control - but the firm's creditors were not paid back what they were owed. The lenders claim that the Core/Endemol/Shine deal was specifically structured in order "to strip Core of its remaining cash, transfer Core's corporate opportunities to its competitors, and ultimately leave Core to default on its obligations to its lenders". Which it then did.

The lawsuit is seeking damages and punitive damages for intentional interference with contracts and inducing breach of the loan contracts. For its part, Apollo says that "the lawsuit is without merit and we intend to defend ourselves vigorously". Good times. They should make a reality show out of all this, it would be much more fun than watching some warbling wannabes pretending they could become America's next pop idol.

Australian collecting societies announce plans for combined public performance licence
The Australian music industry's two collecting societies - the record industry's PPCA and the music publishing sector's APRA/AMCOS - have announced plans to launch a single public performance licensing system in the country under the name OneMusic Australia.

The new initiative mirrors that launched by the New Zealand side of APRA with that country's record industry rights society, PPNZ, back in 2013, which also goes by the name OneMusic. Quite how similar the two OneMusic ventures will be in operational terms will depend on the outcome of the "intense industry consultation" that the two Australian societies say they will now conduct with regards how the Australian single public performance licence for music should work.

Many corporate customers of music don't really understand the difference between the two sets of music rights - ie the copyright in songs and the separate copyright in recordings - and so don't understand why they need two licences to play recordings of songs in public. Even those who do understand the difference often argue that a key point of collective licensing - where groups of rights owners license as one - is to simplify the process for licensees, so why add the complexity of licensing song and recording rights separately?

The UK music societies - PPL on the recordings side and PRS on the songs side - have also followed the lead of their New Zealand counterparts and will next year launch a combined public performance licence covering the playing of recordings in public, having already dabbled with a small number of combined licences in the past. Restructuring has begun behind the scenes for the joint venture that will now administer that combined licence.

These developments don't mean that the song and recording societies are actually merging - money will flow from the joint venture to the individual societies and from there to the rights owners. But the aim is that for licensees - especially smaller licensees - the process is simpler, and no one need know that there are two sets of music rights, and in effect two music rights industries, one for songs and one for recordings.

Confirming the OneMusic Australia plan, the bosses of PPCA and APRA/AMCOS - Dan Rosen and Brett Cottle respectively - said in a joint statement yesterday: "[We] are pleased to announce the signing of a memorandum of understanding to develop a single public performance licensing scheme under the brand OneMusic Australia, to be launched in the second half of 2018".

They went on: "The two industry rights management organisations have responded directly to the administration needs of hundreds of thousands of Australian businesses using music in preparing for a single-licence scheme and e-commerce facility, covering both the recording and musical work rights".

"Our investment in sophisticated ecommerce solutions means that public performance music customers will enjoy a much simpler process for obtaining, managing, reporting on and paying for the licences they need for their businesses", they added. "This follows the successful introduction of OneMusic NZ three years ago, which was warmly welcomed by licensees. The next eighteen months will be a period of intense industry consultation on how best to merge two existing licensing structures equitably and efficiently into one single-licence offering per sector".

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Decca launches publishing division
Universal's Decca label has announced the launch of a new classical-focused music publishing division, led by Natasha Baldwin, previously of Imagem.

"Natasha Baldwin is an exceptionally skilled and experienced publishing executive with a renowned track record", says CEO of Universal's Global Classics division Dickon Stainer. "Her appointment will enable us to offer new publishing and synchronisation services to our classical artists and neo-classical composers, alongside the recording activities of our legendary classical labels and the world-famous Universal Music Publishing Classical catalogue."

Baldwin herself adds: "Using the platform of global brand campaigns, movies and media exploitation I've spent many years proving the versatility and accessibility of classical and neo-classical music. We've reached a moment where the democratisation of music discovery via streaming is giving developing genres a voice like never before. Through Decca Publishing my goal will be to amplify this offering and further broaden the impact of neo-classical music worldwide".

Bestival is moving
Rob da Bank has announced this morning that his main Bestival festival is to move off the Isle Of Wight to a new site on the Lulworth Estate in Dorset in 2017, using the same location as its sister event Camp Bestival.

Bestival has been held annually on the Isle Of Wight since 2004, but is moving in a bid to cut costs and remain commercially viable. However, a new event is promised for the little old island off England's South coast where the entire Bestival enterprise began.

"We can confirm we have submitted a licence application for a new site at the Lulworth Estate in Dorset and we're super excited about our shiny new Bestival adventure", said da Bank via Facebook. "We have an incredible line-up, headliners confirmed and ridiculous new stages and installations coming your way in 2017".

He added: "We remain fully committed to supporting the Isle If Wight through music, charities and projects and will be giving islanders an exclusive ticket offer for the new site. Plus we're working towards a new event for the island. Watch this space".

Speaking to Music Week, he explained: "It's bittersweet for us after thirteen years on the Isle Of Wight, our spiritual home. It's not a decision that's been taken lightly. We started Bestival as fun, hobby thing that has turned into a business, and commercial aspects have taken over, so with fierce competition we felt we needed to move to keep ahead of the game and to keep our spot as one of the leading independent festivals in the UK if not the world. It's a big move for us".

The theme for the 2017 event, da Bank added, will be a reflection on Bestival's time on the Isle Of Wight, bringing back a number of features and stages from its past.

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DHP Family announces plans for The Garage
DHP Family has announced its plans for The Garage, having bought the North London venue earlier this year.

In keeping with the strategy it employees at its Oslo venue in Hackney, as well as the existing live music spaces, the all new Garage will also house an all-day café and bar area, serving coffee, craft beer and cocktails.

"The Garage has been on my radar for about ten years now when I first looked to buy it", says DHP Family MD George Akins. "Its location, layout and history are perfect for what we are looking for in a venue and we look forward to reinventing the space for a new generation".

The refurnished venue is expected to open in February.

  Approved 2016: Riz MC
Every day this week in the CMU Approved slot, we'll be looking at one of our five favourite artists of 2016. Today, Riz MC.

Riz Ahmed is best known to the world at large now as an actor. This year, you may have seen him the new 'Jason Bourne' film, and you'll be able to catch him in the new 'Star Wars' movie this weekend. But his ascent in Hollywood doesn't seem to have affected his output as a rapper.

It's been quite a year, 2016. A lot has happened in the world, and it's still not clear what much of it really means. It's at times like this that the existence of Riz MC becomes all the more reassuring, as a result of his talents for both making good music and writing lyrics that make sense of, or at least ask questions about, the world around us.

His latest solo release, 'Englistan', was recorded before June's EU referendum vote in the UK. But afterwards it all took on a new meaning, as reflected in the video for the title track. Just two weeks after the big vote, he explained: "We made this video in the context of a 500% rise in racist hate crime after the recent Brexit referendum in the UK. It's for Eid and celebrates multiculturalism as a response to the recent surge in racism".

Later, Ahmed wrote an essay for a new book called 'The Good Immigrant' discussing the 'random' searches he has to go through at Heathrow Airport for each of his now frequent trips to the US. "As I've travelled more, I've also done more film work, increasing the chances of being recognised by the young Asian staff at Heathrow", he wrote. "I have had my films quoted back at me by someone rifling through my underpants, and been asked for selfies by someone swabbing me for explosives".

He also recalled the first time this happened to him, as he travelled home after making his first film, Michael Winterbottom's 'The Road To Guantánamo'. That experience was spun into the track for which he is still best known, 'Post 9/11 Blues'.

With similar wit and lyrical skill, his more recent airport experiences were turned into 'T5', the opening track on 'Cashmere', the debut album by Swet Shop Boys - the duo he formed with Das Racist's Heems. "Trump want my exit, but if he press a red button/To watch Netflix, bruv, I'm on/I run the city like my name Sadiq/Not the Syrian city of Dabiq", he raps.

"I'm so happy to talk about all these things", he told The Guardian recently. "I think it's really important that we do. I don't think it's enough to be visible anymore. I think we have to be vocal about what we believe in. We're living in scary times".

Watch the video for 'T5' here.

Stay up to date with all of the artists featured in the CMU Approved column in 2016 by subscribing to our Spotify playlist.
CLICK HERE to read and share online
 

Lady Gaga agrees to Piers Morgan interview, after he questions PTSD diagnosis and rape
Lady Gaga has agreed to do an interview with prize bellend Piers Morgan after he questioned the authenticity of her recent open letter discussing the post-traumatic stress disorder she suffers as a result of being raped as a teenager.

After speaking about her PTSD in an interview with US TV show 'Today', Gaga wrote about the subject further on the website of her Born This Way Foundation, a charity which aims to improve the mental wellbeing of young people.

"I have wrestled for some time about when, how and if I should reveal my diagnosis of Post Traumatic Stress Disorder", she wrote. "After five years of searching for the answers to my chronic pain and the change I have felt in my brain, I am finally well enough to tell you. There is a lot of shame attached to mental illness, but it's important that you know that there is hope and a chance for recovery".

Morgan responded to the piece by tweeting that it was "vain-glorious nonsense" and that it "angers" him when "celebrities start claiming PTSD about everything to promote themselves", because he knows a lot of people in the military who have also had to deal with the disorder.

He also claimed that Gaga, and also Madonna in her recent Billboard Woman Of The Year acceptance speech, may have fabricated claims that they were raped on the basis they did not report the attacks to police, adding: "I wouldn't automatically believe anything either Madonna or Lady Gaga claimed about their lives".

Responding, Gaga told Morgan: "I've work with our Vice President Joe Biden on helping educate people about why women don't report [sexual assault], would love to share it with you some time. Would also love to talk with you about PTSD, that it's not just a 'military' disorder. There is a mental health youth epidemic".

Morgan responded: "OK, you're on. Let's do an interview about this and you can tell me why I'm wrong to be sceptical".

Feeling pretty smug, he then made a gag about a "meat suit", to which Gaga replied: "If you continue to shame me in the process of kindly agreeing to interview with you, I'll happily do the interview with someone else".

Hopefully it won't come to that, as Morgan has already agreed that it's "an important debate". Which it definitely is, given his apparent starting point that rape isn't traumatic because women just make it up.

Information on PTSD and how to seek help is available via Mind's website here.

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Andrew Lloyd Webber "discovered" Rihanna but did nothing
Andrew Lloyd Webber has made the bold claim that he "discovered Rihanna". By which he seems to mean that he heard her sing once and then did nothing.

In an interview on 'Good Morning Britain', Webber said that he and Nigel Wright, with whom he made those 'let's find someone who is good at singing' TV shows, saw Rihanna singing in a hotel in Barbados. Although they both thought that she sounded "very, very good", they chose not to approach her about working with them, in case they were under the same sort of holiday spell that leads you to buy disgusting local alcohol while abroad.

"I said to Nigel, 'If we bring her back, you know it's like when you see a picture when you're away and you take it home and you think, why did I buy that?'" Webber claims. "I thought, you know, we'll get her back, it'll be fine, but then what do we do with her?"

Looking back, he says that he was "not proud" of the decision. Yeah, Webber, the alcohol Barbados is known for is rum. And rum is great. Let that be a lesson to you.

Warner Music, BMG, Clap Your Hands Say Yeah, more

Other notable announcements and developments today...

• Warner Music has announced a restructure of senior management in its technology and data departments, and just in time for Christmas! Ralph Munsen is now Chief Information Officer and Vinnie Freda is Chief Data Officer. "I'm very happy", says Freda. "I'm THRILLED", screeches Munsen.

• BMG has made Dominique Kulling Managing Director of its operations in Germany, Switzerland and Austria. "She understands", says BMG CEO Hartwig Masuch.

• Clap Your Hands Say Yeah will release new album 'The Tourist' on 24 Feb. Here's first single 'Fireproof'.

• Yung Lean has, just like that, out of nowhere, released a new mixtape, 'Frost God'. Here's 'Hennessy & Sailor Moon' featuring Bladee.

• Senseless Things have announced that they will perform a one-off show at the Shepherd's Bush Empire on 25 Mar, their first time on stage together since 1995. Tickets here.

• Phantogram will play the Shepherds Bush Empire on 4 Apr. Tickets go on sale on Friday.

• All Pigs Must Die and Gust will be playing in the UK in April next year. The two bands will play a show in London at an as yet undisclosed venue on 7 Apr, before heading up to Leeds for the Ritual Festival on 8 Apr.

Listening to AC/DC makes you bad at board games (and surgery)
If you're the competitive type of guy who can't bear the thought of losing the family board game showdown on Christmas Day, it might be an idea to remove AC/DC's 'Mistress For Christmas' from your festive playlists. A study has found that listening to rock music makes men worse at board games, with the Australian band particularly singled out for reducing cognitive skills.

The study, published in the Medical Journal Of Australia this week, was carried out by researchers from Imperial College London and the Royal College Of Music. They asked 352 attendees of this year's Imperial Festival to play a game of Operation. Each was given headphones, which played either 'Andante' from 'Sonata For Two Pianos' by Mozart, 'Thunderstruck' by AC/DC, or the sound of a real operating theatre.

The study found that while women were apparently unaffected by any type of music or sound played to them, men who listened to AC/DC were slower and made more mistakes. And while this might all seem a little frivolous, it's actually part of a wider and more serious investigation.

"Although this study is clearly tongue-in-cheek, and was all performed in our spare time, it is part of our wider research into the effect of music on performance", explained lead researcher Dr Daisy Fancourt. "Particularly in a medical setting such as an operating theatre".

Yeah, if you're going in for an actual operation, and if the surgeon's a man, maybe make sure he's not planning to play any AC/DC during the procedure, just to be on the safe side. Fancourt says that music is played in operating theatres around 72% of the time, though there is a lack of agreement among experts on the benefits (or lack thereof) of this.

She continued: "One of our areas of research is how we can boost performance in many different settings - from rowing in the Olympics, to a musical performance or delivering an important speech. This study suggests that for men who are operating or playing a board game, rock music may be a bad idea".

Asked for his view on all of this, former AC/DC drummer Phil Rudd said: "Now I know why I always lose at Scrabble".

 
ANDY MALT | Editor
Andy heads up the team, overseeing the CMU bulletins and website, coordinating features and interviews, reporting on artist and business stories, and contributing to the CMU Approved column.
Email andy@unlimitedmedia.co.uk (except press releases, see below)
   
CHRIS COOKE | MD & Business Editor
Chris provides music business coverage and analysis. Chris also leads the CMU Insights training and consultancy business and education programme CMU:DIY, and heads up CMU publisher 3CM UnLimited.
Email chris@unlimitedmedia.co.uk (except press releases, see below)
   
SAM TAYLOR | Commercial Manager & Insights Associate
Sam oversees the commercial side of the CMU media, leading on sales and sponsorship, and advising on CMU Insights training courses and events.
Email sam@unlimitedmedia.co.uk or call 020 7099 9060
   
CARO MOSES | Co-Publisher
Caro helps oversee the CMU media, while as a Director of 3CM UnLimited she heads up the company's other two titles ThisWeek London and ThreeWeeks Edinburgh, and supports other parts of the business.
Email caro@unlimitedmedia.co.uk
Send ALL press releases to musicnews@unlimitedmedia.co.uk - this is checked daily by the whole editorial team meaning your release will definitely get to the right person.

For details of the training and consultancy services offered by CMU Insights click here - Andy and Chris are also available to provide music business comment, just email them direct.

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