FRIDAY 31 JULY 2015
TODAY'S TOP STORY: What he gives with one hand he takes away with another. God that is. The sneaky little fella. But the US Department Of Justice maybe planning the same trick with its review of collective licensing rules in America, according to various sources cited by Billboard. Presumably the DoJ has been inspired by the Lord himself. This is what happens when you put "in God we trust"... [READ MORE]
 
TODAY'S APPROVED: Yes! Another boat party! Soundcrash is taking clubbers down the Thames again but with a different twist - this time taking it drum n bass style. Music will be supplied by none other than the Brazilian DJ Marky, who not only took the sound of dnb to South America with DJ Patife in 2001, but brought some Latin sunshine into the UK scene too. Marky's Movement Mix... [READ MORE]
 
BEEF OF THE WEEK: Well, it finally happened. The remaining four members of One Direction have written Zayn Malik out of their history. Zayn who? No idea, mate. What do you mean this sounds like something I just made up in order to fill a weekly column? How dare you! Now I will have to fill the rest of this article with evidence, and then you'll all look rather silly. It was all smiles in March when... [READ MORE]
 
CMU PODCAST: CMU’s Andy Malt and Chris Cooke review the week in music and the music business, including the latest on the digital pie debate, Amazon Prime Music’s UK launch and how it affects the streaming landscape, Russian social network vKontakte’s “goodwill agreement” with Sony Music, and Zayn Malik’s contract signing frenzy. The CMU Podcast is sponsored by 7digital... [LISTEN HERE]
TOP STORIES Music publishers set to hate at least one DoJ reform to US collective licensing
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LEGAL Pandora fails to cut BMI rates on back of owning a single FM radio station
No Happy Birthday decision after new "smoking gun" evidence submitted
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MANAGEMENT & FUNDING PRS For Music opens up Beyond Borders scheme for 2015
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MEDIA The Voice could go to ITV in 2017
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ARTIST NEWS Airport officials deny Morrissey's accusation of sexual assault
Tyler, The Creator raps Dr Seuss
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RELEASES Prince releases exclusive Spotify single, after removing catalogue from streaming services
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ONE LINERS Meek Mill releases Drake diss track, Mariah directing Christmas film, 1000 Foo Fighters fans perform Learn To Fly, and more
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AND FINALLY... CMU Beef Of The Week #264: One Direction v Zayn Malik
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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.
 
 
BIMM LONDON - EVENTS & GUESTS ASSISTANT (LONDON)
The post holder will have a supporting role to the Head of Events & Guests with specific responsibility for BIMM in house and external events, gigs, artist auditions, masterclasses and supplying the marketing department with information on events, guests and student success stories.

For more information including a full job description and how to apply click here.
   
BIMM MANCHESTER - HEAD OF HIGHER EDUCATION & COURSE LEADER (MANCHESTER)
The post holder will be a highly experienced, dynamic professional with a strong background in music and in education who will share responsibility for the leadership, creative development and delivery of all the academic activities of BIMM Manchester.

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BIMM MANCHESTER - COURSE LEADER BA PROFESSIONAL MUSICIANSHIP (MANCHESTER)
The role requires an inspirational course leader and teacher who can also bring a high level of music industry and academic experience and demonstrate an understanding of, and affinity with, the curriculum at BIMM Institute.

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BIMM MANCHESTER - STUDENT SUPPORT OFFICER X 2 (MANCHESTER)
We are seeking to appoint an enthusiastic experienced, dynamic professional with a background which will enable them to take on a key role in upholding all Student Support systems to ensure all students complete their studies and achieve at the highest level.

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BIMM DUBLIN - RECEPTIONIST (DUBLIN)
The successful candidate will be the first point of contact for all students, tutors and visitors to BIMM Dublin. Working within the reception team, the role will involve dealing with a high volume of calls and responding to all queries in a timely and informative manner.

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BIMM DUBLIN - RECEPTIONIST (TEMPORARY CONTRACT, 6.5 MONTHS) (DUBLIN)
The successful candidate will be the first point of contact for all students, tutors and visitors to BIMM Dublin. Working within the reception team, the role will involve dealing with a high volume of calls and responding to all queries in a timely and informative manner.

For more information including a full job description and how to apply click here.
   
BIMM DUBLIN - TEMPORARY STUDENT SUPPORT OFFICER (DUBLIN)
The Student Support Officer will have a key role in supporting the QSS Manager in ensuring that all aspects of the School’s Student Support provision, including pastoral tutorials, counselling, learning support welfare awareness programmes and student representative programme are delivered in line with the requirements of our key educational partners and in order to support all students at BIMM Dublin.

For more information including a full job description and how to apply click here.
   
SOLD OUT - JUNIOR SOCIAL MEDIA EXECUTIVE (LONDON)
Sold Out is an independent full service advertising agency, specialising in arts and entertainment for 20 years. You will be supporting the business through effective implementation of social media campaigns for a variety of clients across the entertainment market. The role is ideal for a recent graduate or for a first full-time job.

For more information including a full job description and how to apply click here.
   
MUSIC GLUE - HEAD OF SALES AND MARKETING (LONDON)
Music Glue, the world’s leading D2F e-commerce platform, is looking for a Head of Sales and Marketing to lead our sales team. You will be an experienced and well-organised sales professional with wide ranging contacts, an excellent network in the music industry and a keen desire to make a name for yourself in a fluid, exciting role.

For more information including a full job description and how to apply click here.
   
MUSIC GLUE - DIGITAL COMMUNICATIONS MANAGER (LONDON)
Music Glue, the world’s leading D2F e-commerce platform, is looking for a Digital Communications Manager to join our team. We’re looking for an experienced communications professional who is searching for a job unlike any other in music or PR. Music Glue is a company at the forefront of the ongoing revolution in music and we want someone who is as comfortable evangelising our brilliant new features to our rapidly increasing user base as they are crafting the messaging and voice of the company as a whole.

For more information including a full job description and how to apply click here.
   
BLUES KITCHEN - PROMOTIONS & MARKETING ROLE (LONDON)
The Columbo Group is seeking a talented and enthusiastic individual to join the Blues Kitchen marketing and promotions team.

For more information including a full job description and how to apply click here.
   
WARWICK SU - PROGRAMMING AND PROMOTIONS MANAGER (COVENTRY)
We are looking for an exceptional Programming and Promotions Manager to deliver a diverse and cost effective social provision programme across Warwick SU operation’s and outlets, including both regular and one off events that exceed the expectations of the student population and other customers.

For more information including a full job description and how to apply click here.
   
IQ - ADVERTISING SALES EXECUTIVE (LONDON)
IQ, a leading trade publication operating in the international live music industry, is seeking a dynamic, bright advertising sales executive to become an integral part of its growing team. The ideal candidate will have solid sales experience across both digital and print media.

For more information including a full job description and how to apply click here.
   
UNIVERSITY OF EAST ANGLIA - VENUE MANAGER (NORWICH)
Are you looking for a change in your career? A unique opportunity to run a major venue on the live circuit. You will lead and develop enthusiasm in your management team and inspire them to make highly commercial decisions whilst also delivering an unforgettable experience to each and every customer.

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
 

Music publishers set to hate at least one DoJ reform to US collective licensing
What he gives with one hand he takes away with another. God that is. The sneaky little fella. But the US Department Of Justice maybe planning the same trick with its review of collective licensing rules in America, according to various sources cited by Billboard. Presumably the DoJ has been inspired by the Lord himself. This is what happens when you put "in God we trust" on your money.

So yes, as previously reported, the DoJ is busy reviewing the so called 'consent decrees' which regulate ASCAP and BMI, the two big performing rights organisations for the US music publishing sector, which provide licences on behalf of American publishers and songwriters for anyone needing permission to 'perform' (broadcast, stream, play in public) a song.

It was the publishers who wanted the review, not least because the majors want to stop the PROs from licensing their catalogues to streaming services. Mainly on the basis that, without all the rules and regs of collective licensing, the publishers could threaten to pull their repertories from a streaming service, and get a better deal on royalties in return.

But the US courts said that the publishers either had to licence all their performing rights collectively, or none, and that so called 'partial withdrawal' (eg just pulling digital from the PROs) is not an option under the consent decrees. The publishers want the decrees rewritten so partial withdrawal is possible, and word has it the DoJ is likely to recommend such a change to the courts that ultimately decide the rules.

Here's the thing though, sources say that another new line the DoJ is proposing for the consent decrees could severely reduce the impact of partial withdrawal, and shake up collective licensing in other ways that could send the music publishing sector's royalties down rather than up.

This second proposal relates to co-written - and therefore co-owned - songs, where multiple publishers and, often in the US, multiple PROs are involved. Under the current system, where you have a song with two writers, one a BMI member and one an ASCAP member, a licensee needs permission from both societies to use the work, with each society then collecting revenues on behalf of its member.

Of course, most licensees will have blanket licences from the societies, so don't really notice this is what they are doing. But crucially, if they had a BMI licence but no ASCAP deal, the licensee could only use songs that are represented by the former in their entirety, if an ASCAP member has even a small share in the copyright of any one tune, the radio station or concert promoter isn't licensed to make use of the work.

Now, technically under US copyright law any stakeholder in a copyright is actually empowered to licence the work in its entirety, providing they share any income with the other co-owners. But in practice, there are all sorts of scenarios where this doesn't happen, the collective licensing of performing rights being one of them.

But the DoJ is seemingly considering inserting a line into the consent decrees that explicitly says that this should become practice in the collective licensing domain, oblivious of any society rules, or agreements between songwriters and/or publishers, that currently force so called 'fractional licensing', where licensees need separate agreements with each stakeholder.

What that would mean is: even if Sony/ATV et al pulled their digital rights from BMI and ASCAP, any songs in their catalogues co-owned with a publisher who was still using the PROs for digital would still be available for digital services to stream under their BMI and ASCAP blanket licences. It would also mean that Sony/ATV could license its repertoire in its entirety, even though they won't own 100% of many of the songs in their catalogue.

Now, quite what would happen to co-owned works if and when partial withdrawal was allowed in the US has been discussed in legal circles ever since the majors first indicated their desire to shift digital over to direct licensing.

The DoJ's proposal would at least provide some clarity, though the move is not popular with the American publishing community, who feel it would greatly weaken their hand at the negotiating table. And could actually result in the Pandoras of the world - and, indeed, licensees outside the digital domain - getting a better deal, because they could play BMI off against ASCAP when it comes to the repertoire that the two societies co-represent.

Publishers also argue that the proposal is based on an incorrect assumption by the DoJ, ie that because in theory under US copyright law any one stakeholder in a copyright work can wholly licensee it, that must be common practice across the industry in all licensing scenarios. One anonymous publishing exec quoted by Billboard says: "The DoJ's [proposal] is factually inaccurate on what the industry's customary practices are, and the repercussions of their stance as it is now are not being fully considered".

Few have, as yet, gone on the record in dissing the DoJ on this proposal, though ASCAP CEO Beth Matthews confirmed in a statement, "ASCAP supports fractional share licensing coupled with transparency by all market players to effectuate digital withdrawals".

Quite what impact this proposed rule would have across the board - as in how many songs in the Sony/ATV repertoire could still be licensed via BMI and ASCAP as a result of co-ownership with an indie - is hard to assess, what with there being no central database of copyright ownership.

Though that lack of a copyright database would arguably put pressure on the streaming services to still do deals with all parties - ie BMI, ASCAP, Sony/ATV, Warner/Chappell, Universal, BMG and Kobalt - anyway, because they wouldn't necessarily know which songs were wholly controlled by a major or majors, and therefore were no-go works under their BMI and ASCAP licences.

Which means this DoJ proposal would be an incentive for the music publishers to continue being rubbish at sharing copyright ownership data, which would be a big down side. Though it would also likely make Pandora et al even more vocal on the need for some kind of global repertoire database, so perhaps actually it would speed things up in that regard.

Either way, there should be much debate to be had when the DoJ formally published its proposals for the all new consent decrees.

Pandora fails to cut BMI rates on back of owning a single FM radio station
More digital licensing wranglings involving the American publishers now, and Pandora has failed in its latest legal bid to lower the monies it pays to collecting society BMI.

As previously reported, Pandora has been arguing with the two big US music publishing performing rights organisations - BMI and ASCAP - over what royalties it should have to pay for streaming the songs they represent.

Despite the publishers being generally critical of the rate courts that rule on such matters when collective licensing is involved, saying judges often don't take commercial realities into account when deciding rates, back in May the courts basically ruled in favour of BMI, demanding Pandora pay the society a 2.5% rate, rather than the 1.75% figure the streaming music service was proposing.

But Pandora continues to pursue every legal angle it can to get royalty payments down. In court this week, one specific little trick Pandora has been trying on for a while now was considered and rejected. As you may remember, back in 2013 Pandora bought itself an FM radio station in South Dakota, arguing that doing so made it a traditional broadcaster which should be able to make use of a separate more beneficial digital licensing arrangement that BMI had agreed with the US radio industry.

However, in court this week the judge rejected that argument, noting, quite reasonably, that Pandora cannot be compared to traditional radio, even if it owns a traditional radio station on the side. The Pandora business model is as different from conventional radio, he concluded, than it is from fully on-demand streaming services like Spotify, which pay higher rates to the music publishers.

So shut your face Pandora, basically. Though there are further appeals and technicalities to come on all this, almost certainly.

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No Happy Birthday decision after new "smoking gun" evidence submitted
The judge overseeing the 'Happy Birthday' copyright dispute has pushed back any decision making for at least another week.

As previously reported, a film company behind a documentary on the famous song claims that, in the US at least, 'Happy Birthday' should no longer have copyright protection, because the copyright in it originates from before a 1923 change in American copyright rules. Under the pre-1923 rules the song is already 'public domain', ie out of copyright.

The song's publisher Warner/Chappell, however, insists that while the song may have existed before 1923, it was never formally published. It links publication to a 1935 copyright registration, which falls well after the 1923 rule change, and thus means the song is still a protected work.

Both sides submitted their arguments a while back, and a judge was due this week to consider whether he should make a summary judgement one way or the other, or let the whole thing proceed to trial. Until this week, the plaintiffs' main argument was that Patty Smith Hill and Mildred Hill, the sisters who wrote some or all of the song, had "surrendered the copyright to the public" prior to the 1935 registration, rendering that registration redundant.

But then the plaintiffs arrived this week with a last minute bit of new evidence, a song book from 1922 that contained the song. That meant, the plaintiffs argued, that 'Happy Birthday' was definitely published before the all important 1923 rule change. Except, countered Warner/Chappell, not if the song had been published in 1922 without permission. A matter that would surely need a trial to be worked out.

Having taken submissions from both parties, a judge in the California federal court considered the 'they surrendered the copyright' argument on Wednesday, but held off reviewing the new evidence, giving the two parties another week to prepare refreshed arguments taking the 1922 songbook into account.

And so, no resolution as yet, and no new court hearing currently scheduled. The judge could as yet make a summary judgement on the final set of submissions from each party, or could let the whole matter proceed to court. If the latter, I vote Robin Thicke is brought in to play 'Happy Birthday' on the piano. You know, just to set the scene.

PRS For Music opens up Beyond Borders scheme for 2015
The PRS For Music Foundation has put out a call - a loud call, a momentous call, an invigorating call, an inspirational call, an avant-garde call, a considered call, a tremendous call, a lively call, an uplifting call, an energising call, a bracing call, a vitalising call, a salubrious call - for groups and organisations with projects that could qualify for funding under the organisation's Beyond Borders programme. So listen everybody.

This scheme is aimed at encouraging collaboration between artists in England, Scotland, Wales, Northern Ireland and, as of last year, the Republic Of Ireland too, with arts funding bodies from most of those countries also contributing. The grants of up to £15,000 can cover new commissions, live and recording work, to be performed in at least three of the five participating countries.

Says the Foundation's Executive Director, Vanessa Reed: "I'm thrilled that we're now launching the latest round of Beyond Borders, a cross-border programme which has supported many brilliant music projects over the past five years. This is a unique opportunity for organisations and groups across the UK and Republic Of Ireland to seek funding that will enable them to work together on touring and co-commissioning, bringing new music to a broader audience".

So, the call has been made. Answer it here.

The Voice could go to ITV in 2017
'The Voice' may switch to ITV the series after next, according to sources.

Well, speculators really, in that this is mainly a conclusion reached by combining three separate facts: first that the Beeb's current deal with 'Voice' owners Talpa Media only runs for one more series; second ITV bought Talpa Media earlier this year; and third shows like 'The Voice' are set to be much criticised by the current government review of the Corporation's operations.

Of course, we're all meant to be bigging up the BBC at the moment, otherwise Culture Minister Johnny Whittingdale and his best buds in the commercial media might kick the whole organisation down a big hole, and build a tanning salon on top of it to obscure the mess they leave behind.

Though, while the BBC is, of course, brilliant and magnificent and wonderful, and must be protected from such vandalism, that doesn't mean the twonks that run the place aren't more than capable of pissing licence fee payer money up the wall on vanity projects and other unnecessary ventures. Like the utterly pointless BBC Music Awards and that stupid all-star 'God Only Knows' cover.

However, despite Johnny wanting the BBC to mainly focus on making programmes about particle physics and wool, that doesn't mean the Corporation shouldn't be in the business of entertaining the masses, which it routinely does with its own programming franchises like 'Doctor Who', 'EastEnders' and 'Strictly Come Dancing'.

But shows like 'The Voice' can be controversial for the Beeb, because it was bought in at great expense from a third party to compete with an existing very similar format broadcast by rival ITV, ie 'X-Factor'. And even some friends of the BBC question whether that was a good use of licence fee funds. Even if you argue that 'The Voice' is clearly not a commercial show, in that no UK winner from it has ever enjoyed anything nearing a commercially successful career post their victory on the programme.

All of which is fuelling speculation, principally in The Sun, that the BBC will have to dump its music talent show after its 2016 outing, but that ITV will then take the franchise on, it already owning it via the Talpa acquisition, despite not having the rights to use it in the UK just yet. So that's good news isn't it? That everyone thinks there'll still be space on the telly airwaves for two popstar talent shows come 2017.

  Vigsy's Club Tip: Summer Drum N Bass Boat Party with DJ Marky and SP:MC
Yes! Another boat party! Soundcrash is taking clubbers down the Thames again but with a different twist - this time taking it drum n bass style.

Music will be supplied by none other than the Brazilian DJ Marky, who not only took the sound of dnb to South America with DJ Patife in 2001, but brought some Latin sunshine into the UK scene too. Marky's Movement Mix from the same year was truly seminal, and has stood the test of time.

Marky will be joined on the boat by SP:MC and also some Soundcrash residents and Tom Central.

Saturday 1 Aug, Dutch Master Boat, Millennium Pier, Lower Thames Street, London EC3N 4DT, 7pm - 12am, £22.50. More info here.
CLICK HERE to read and share online
 

Airport officials deny Morrissey's accusation of sexual assault
A spokesperson for the US Transport Security Administration has denied any wrongdoing, after Morrissey accused a member of security staff at San Francisco International Airport of sexually assaulting him earlier this week.

In a post on his True To You fansite, Morrissey claimed: "Before I could gather my belongings from the usual array of trays [after going through security] I was approached by an 'airport security officer' who stopped me, crouched before me and groped my penis and testicles. He quickly moved away as an older 'airport security officer' approached".

"Luckily I was accompanied by two members of British Airways Special Services, who were horrified at the sexual attack and suggested that I lodge a complaint", he added.

In response to the singer's accusation, a spokesperson for the TSA said: "TSA takes all allegations of misconduct seriously and strives to treat every passenger with dignity and respect. Upon review of closed circuit TV footage, TSA determined that the supervised officer followed standard operating procedures in the screening of this individual".

They added: "During the screening process, if an anomaly is detected, secondary screening is required to ensure the passenger does not have threat items, such as explosives, concealed under clothing. TSA works with numerous groups to continuously refine and enhance our procedures to improve the passenger experience while also ensuring the safety of the travelling public".

--------------------------------------------------

Tyler, The Creator raps Dr Seuss
While he waits to see if he'll ever be able to perform in Australia again, Tyler, The Creator has appeared on 'Jimmy Kimmel Live', dressed as The Cat In The Hat, to perform lines from the new Dr Seuss book.

Oh what, you didn't know there was a new Dr Seuss book? Well, it's been in the news quite a bit. Dr Seuss has been dead for a while, of course, but this unpublished book has been discovered and is now being published. There's been uproar though, because it reveals that The Lorax was actually pretty racist.

Hang on, I might be getting my long lost books mixed up. Whatever, Jimmy Kimmel decided that the new old book should be given a modern spin, and so got Tyler to come and rap some lines from it.

The whole thing's quite weird, and not particularly funny, but watch here if you like.

 

Prince releases exclusive Spotify single, after removing catalogue from streaming services
That Prince is a funny one, isn't he? Always keeps you guessing. I mean, just a few weeks ago he was pulling all of his music off all the streaming services, and now he's surprise releasing a new single exclusively on Spotify.

The track, titled 'Stare', appeared yesterday, with Spotify tweeting that it was "just for Spotify fans". But does that mean all the rest of his music is available there too? Nope. Just that one track and a few stray odds and ends from compilations.

Spotify seem as confused as everyone else by this, telling fans who asked if the rest of his music would be returning to "listen hard" to this new single "and hope he brings the rest back soon".

Who knows if it will work, but you can listen especially hard to 'Stare' here.

Meek Mill releases Drake diss track, Mariah directing Christmas film, 1000 Foo Fighters fans perform Learn To Fly, and more

Other notable announcements and developments today...

• Meek Mill has now released his diss track in the ongoing beef between him and Drake. In it he claims that someone once urinated on Drake in a cinema. And for that reason I'm going to say that this beef is not over.

• Mariah Carey is set to direct and star in a TV movie for the Hallmark Channel called 'Mariah Carey's Christmas Project'.

• In an attempt to convince Foo Fighters to play a show in Italy, 1000 musicians have come together to play the band's 'Learn To Fly' in a field. Here's what that sounds like.

• Are !!! going to release a new album in October. As if. Oh wait, they are, and it's called 'As If'. Sorry for the mix up there. It's out on 2 Oct. This is a track from it, 'Freedom 15'.

• Slaves have posted the video for their new single, 'Sockets'.

• Tom Jones and comedian Rob Brydon will join forces for a show at the Wembley Arena on 8 Oct, as part of this year's BBC Children In Need campaign. "Great honour", says Tom. "Delighted", adds Rob.

• Song, By Toad's Pale Imitation festival will be back in Edinburgh throughout August, showing off some of the finest local musical talent. It'll all take place at Henry's Cellar Bar from 2-29 Aug. Tickets here, and a playlist of all the acts playing here.

CMU Beef Of The Week #264: One Direction v Zayn Malik
Well, it finally happened. The remaining four members of One Direction have written Zayn Malik out of their history. Zayn who? No idea, mate.

What do you mean this sounds like something I just made up in order to fill a weekly column? How dare you! Now I will have to fill the rest of this article with evidence, and then you'll all look rather silly.

It was all smiles in March when Malik left the group, of course. "I am leaving because I want to be a normal 22 year old who is able to relax and have some private time out of the spotlight", he said back then. "I know I have four friends for life in Louis, Liam, Harry and Niall. I know they will continue to be the best band in the world".

Just warms your heart, doesn't it? Even now. Even now that we know it couldn't last. Even now those "four friends for life" have become Zayn's sworn enemies for eternity. Because that is what has happened, don't forget.

So, having tired of having a 100% normal life, this week Malik announced that he had new management and a new record label, breaking free from the chains of Simon Cowell's Syco and one time 'X-Factor' act management company Modest!.

Oh sure, he's still signed to a Sony label and Cowell was apparently involved in getting him that record deal. But whatever, this is all pretty close to a clean break. And clean breaks mean cutting loose the ties that have been holding you back. So Zayn took the opportunity to announce that everything he's done prior to this point - ie the entire 1D recorded repertoire, all their live performances and the big duvet cover deal - are an embarrassment that he hopes to forget.

Well, those weren't his exact words. What he actually said was: "I guess I never explained why I left [One Direction]. It was for this moment to be given the opportunity to show you who I really am!"

But that's not what he said in March, is it? In March it was all, "Soz, it's all got a bit too much in this hot spotlight". Now - as the Mystic Meg of pop, Louis Walsh, previously predicted - it turns out what Malik really felt was that he should be the only one taking all the heat of said spotlight. And just to drive the point home about everything that went before being rubbish, he added the hashtag "#realmusic" to his deal tweet, basically accusing his former band of being somehow fake, like he's now Jake Bugg or something.

But a beef requires two sides, so let's go and take a look at what's been going on with the four men who are currently still collectively known as One Direction (until the end of the year).

"We're really sad to see Zayn go, but we totally respect his decision and send him all our love for the future", they said when Malik left the group. "The past five years have been beyond amazing, we've gone through so much together, so we will always be friends".

And so, as they saw their former comrade go forth and pave the way for the imminent solo career future that awaits them all (well, at least two of them), what messages of support did they send? None. None at all. Not even one. They just acted like they hadn't even noticed. They tweeted about other things, or, in Liam's case, stayed so committed to ignoring Zayn that he tweeted nothing at all between Monday and this morning.

Oh, but he tweeted something today though, did he? Yes he did. Thank you for spotting that and giving me a segue into the next stage of this beef. Because this is where it gets really crafty, you see. As if to really drive the point home that they don't even remember who this 'Zayn Malik' character is, One Direction released their first single without his silly voice bringing down the vocals as a big surprise for fans this very morning. Because that's how exciting New Music Fridays can be.

Even better, the title of the track is quite clearly a message to the man they're pretending not to remember. 'Drag Me Down' is the title. Because, like, they're saying that Zayn was dragging them down, and now with this song they're showing off how they can reach their true potential without him. I mean, lyrically that's not even close to what it's saying, but that's what makes it so clever. So subtle.

And so, I think that, without question, this all proves the bitter rift between Zayn Malik and the remaining members of One Direction. Oh sure, you might point out that Liam's lack of tweeting this week means that a tweet from last week marking the fifth anniversary of the group is still near the top. And yes, sure, he thanks Zayn along with everyone else in that tweet. But let me ask you this: who is the only one whose name he doesn't give a capital letter?

Now, who wants me to explain how the 50/50 split between 1D members over whether to link to Spotify or iTunes while announcing that new single this morning shows who will be the next two group members to quit?

 
ANDY MALT | Editor
Andy heads up the team, overseeing the CMU bulletin 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, plus helps manage and deliver the CMU Insights training courses and consultancy services.
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.

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