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Europe for Creators is launching a new website and a newsletter, as part of a renewed effort to counter Google’s massive disinformation campaign around Article 13 of the European Copyright Directive.

The new tools are meant to fight back with facts. The website, www.article13.org and the newsletter, INSIGHT13, take a no-nonsense approach to the issue and go back to basics: What does the Directive actually say and how does the process work?

Google has used its financial power and its YouTube platform to organise one of the largest lobbying campaigns the European Union has seen in recent years, with scant regard for truth. YouTube executives have claimed that Article 13 would cripple the platform in Europe, with 35 million accounts potentially at risk of being taken down. The platform and its allies have sought to manipulate children and young users to channel false claims about Article 13. It’s extremely worrying that a media platform in such a dominant position would use its service as a weapon to influence public opinion and advocate purely private and commercial interests through misinformation, fearmongering and fake news.

With a clear timeline, an FAQ and a paragraph-by-paragraph explanation of the European Parliament’s version of Article 13, the website provides accurate and easy-to-understand insights into the debate, while unveiling the benefits of Article 13 for creators and ordinary users. It is time that YouTube takes steps to ensure transparency, accountability and responsibility on its platform once and for all. And it will never do so without clear and fair rules in place.

Article 13 will facilitate the sharing of content in a fairer way and stop arbitrary removal of content and other unfair trading practices which platforms such as YouTube routinely resort to.

The newsletter will report on the latest developments in the process and the battle over public opinion. Brief analytical pieces will link to the best articles, videos, Tweets and memes on the subject.

Subscribe to the newsletter, visit www.article13.org or follow the debate on Twitter @EUForCreators with #EuropeForCreators.

Several key figures and longstanding members of BASCA from across the songwriting and composing community have been recognised as part of this year’s New Years Honours list, awarding the achievements of a range of extraordinary people across the UK.

Amongst those are BASCA members Nick Mason, founding member and drummer of Pink Floyd, who was presented with a Gold Badge Award in 2012, as well as composer, producer and recipient of the Ivor Novello Lifetime Achievement award 2017 Nitin Sawhney. Both music creators have been awarded a CBE for services to music. On receiving his honour, Nitin Sawhney has said:

“Although I declined an OBE over 10 years ago, mainly due to the invasion of Iraq, I decided to accept the CBE this time as the offer letter arrived on my late dad’s birthday. He had regretted that I didn’t take the OBE before and had asked if I would take it as a birthday present to him. Although my father sadly passed away in 2013, I am taking the CBE to honour his memory. I still object to the word “Empire” in the honours system as I find it archaic and irrelevant to contemporary society. However, I feel humbled that somebody felt I deserved any kind of honour and I am therefore grateful to receive this kind acknowledgement of my life’s work to date.”

Professor Shirley Thompson, composer, music educator and BASCA Classical Committee member, has been honoured with an OBE. A visionary artist and cultural activist, she has composed extensively for concerts, TV, film, theatre, dance and opera production. Of the acknowledgement, Shirley has told us:

“I am absolutely thrilled to be awarded with an OBE in the Queen’s New Year Honours List 2019 and thank my anonymous nominator/s very much! I am very grateful for all the support and encouragement from faithful family, friends and colleagues that has enabled me to realise my vision and endeavours. I much appreciate all of you that have attended my gigs and bought my audio and visual recordings. Even more thrilling has been the torrent of warm salutations that I’ve received from my wonderful peers, whose artwork I respect very highly. I am very proud to be a part of our invaluable artistic community and feel greatly encouraged to continue creating and staging musical work. Many thanks to you all!”

MBE’s have been awarded to BASCA member Gordon Giltrap for services to music and charity, as well as singer, songwriter, TV personality and Gold Badge Award winner 2007 David Grant, for services to music.

BASCA announces new senior hires, new strategy and rebrand in 2019

BASCA announced its new strategy for 2019, as well as a number of senior hires, today at its Annual General Meeting at The Ministry in London.

As part of BASCA’s ambitious strategy for growth – including a rebrand – in 2019, BASCA Chair Crispin Hunt introduced the appointment of Graham Davies as Interim CEO for a further year, in addition to MEP Emma McClarkin and music lawyer Julia Montero as new Independent Directors of the Board.

At the AGM, Davies delivered the CEO report and an update on his work over the past six months as Interim CEO of BASCA, including putting in place the new strategy. He joined BASCA in June 2018 when CEO Vick Bain commenced extended leave ahead of her departure from the business in December.

Davies previously served a 20-year tenure at PRS for Music as a senior executive running strategy and digital transformation. He was instrumental in the development of PRS online and hub strategies, including sitting on Boards of joint ventures. Davies has continued to work as a strategy advisor to numerous organisations.

Davies said of the appointment: “It is a privilege to lead BASCA. It has a great past and a great future. The craft and rights of music composers and songwriters must be properly supported, celebrated and nurtured as without their talent, the music the world loves wouldn’t exist.
“The industry is changing, and we must raise our voice to bring about fair protection and remuneration for creators’ rights. I am confident that we have the right strategy and a talented team to bring about much needed change.”

Hunt added: “Graham’s deep knowledge of rights, formation of policy and management experience has brought enormous benefit to BASCA in the short time he has worked with us. We are delighted he has agreed to lead the organisation at this critical time.”

As part of changes implemented to develop the governance of BASCA, with a new Board and Committees elected earlier in the year, two new Independent Director posts were created, with MEP Emma McClarkin and music lawyer Julia Montero recently appointed.

McClarkin is Conservative MEP for the East Midlands region. She has played a key role in supporting the Copyright Directive reform and other music issues. Her experience and contacts in trade, the digital single market and the cultural and creator sectors discussions will be invaluable to BASCA’s forthcoming lobbying activities.

Montero is a reputable lawyer, previously working for PRS, EMI, Vodafone, Warners and in private practice, most recently for her own firm Creative Counsel Law. Montero’s legal skills and knowledge of the music industry will be vital in supporting BASCA’s evolving policy agenda.

McClarkin said: “It is an honour to be joining BASCA. I look forward to helping BASCA sculpt the regulatory landscape so it supports and respects our songwriters and composers.”

Montero said: “I’m hugely honoured and excited to be joining the BASCA Board at such a pivotal time. I very much look forward to contributing to BASCA’s important work.”

Hunt added: “With their specialist knowledge across rights and regulation, plus enthusiasm for bettering our sector, we are thrilled to have Emma and Julia join the BASCA Board. The mandate BASCA has been given by membership to take our organisation forward is hugely positive for all songwriters and composers and, bolstered by these excellent senior executive hires, we are now focussed on the challenges ahead.
“With new input, new blood and new momentum, BASCA will be the empowered, pragmatic, and informed movement needed to help shape the architecture of our cultural future. We look forward to consulting with all who share our vision of the flourishing, holistic musical ecosystem the future demands.”

BASCA announce that Chief Executive Officer Vick Bain is stepping down.

In her thirteen years at BASCA Vick held several positions before being appointed CEO in 2012.

Following a period of serious ill-health earlier this year, from which she has now fully recovered, Vick has decided to move on from BASCA in order to pursue new goals.

During her tenure Vick led the organisation through a major modernisation programme and recently oversaw an extensive structural review with the subsequent implementation of new governance procedures.

Vick provided real commitment and leadership to ensure BASCA’s flagship award ceremonies – The Ivors, The Gold Badge Awards and The British Composer Awards – continued to build on their industry-wide reputation for integrity and prestige. In addition, wherever possible she introduced new events and added value benefits for members.

Vick was instrumental in establishing an innovative partnership network with universities across the UK and has been a vocal advocate for increased inclusivity and diversity issues within the music industry. She also built and strengthened relationships with music industry umbrella organisations including UK Music and the British Copyright Council and helped launch The Council of Music Makers.

BASCA has always been a campaigning organisation and under Vick’s leadership has forged strong relationships with MPs from across the political spectrum in the All Party Parliamentary Group for Music. Vick also achieved a high level of profile and respect in the music industry for her campaigning work and position on issues affecting songwriters and composers; gaining front page press splashes for her campaigns on digital music, songwriter credits and diversity. In 2015 Vick helped creators win a copyright tribunal at the High Court which overturned an exception to copyright that was going to be damaging to the UK Music industry and beyond; known as BASCA vs BIS it was the first time BASCA had been involved in a judicial review.

She also reinvigorated The BASCA Trust which had lain dormant for almost two decades by bringing in new trustees, additional resources and a partnership with the PRS Foundation, which allowed the distribution of bursaries to dozens of songwriters and composers alongside a program of educational and inspirational events.

In recognition of her work Vick was inducted onto the Music Week Women in Music Roll of Honour in 2017 and featured in the BBC Radio 4 2018 Woman’s Hour ‘Power List.’

Vick said, “l have endured a difficult year, overcoming breast cancer and other related conditions. I have now officially received the all-clear and am feeling fighting fit but after experiencing a lifethreatening condition and reviewing my priorities I feel the time is right to hand-over the reins to someone else, and focus on other ambitions, of which I have many. It has been a great honour to serve and lead BASCA for so long and I wish the organisation, our fantastic members, and my wonderful colleagues all the very best for the future”


Robert Ashcroft to step down as Chief Executive of PRS for Music in 2019

Robert Ashcroft has announced that he will step down as Chief Executive of PRS for Music on the tenth anniversary of his appointment, at the end of December 2019.

Under Ashcroft’s leadership, PRS for Music has launched three industry joint ventures: ICE, Network of Music Partners (NMP) and PPL PRS Ltd, each designed to improve the efficiency and effectiveness of collective rights management.

Robert has also played a major role in the adaptation of European copyright law to the Internet era. His 2010 ‘hubs strategy paper’ was central to the 2014 European Collective Rights Management Directive, while it was his argument about the ‘transfer of value’ that convinced the European Commission that user-upload platforms and other social media should be made liable for copyright.

Robert Ashcroft, Chief Executive, PRS for Music, said: “Working for PRS has been by far the most compelling and worthwhile thing I have ever done. It has been a privilege to work on behalf of our members and I would like to thank them, our board, and above all my colleagues, for their support over the years.”

Nigel Elderton, PRS Chairman, said: “Robert has given the organisation a decade of stability and growth, making it the considerable success it is today. He should be rightly proud of his legacy and the health in which he leaves PRS for Music. On behalf of all our members, staff and industry partners I would like to thank Robert for his service and the positive impact he has had.  We wish him every success in the future.”

Crispin Hunt, BASCA Chair, said: “Robert Ashcroft is a visionary leader who has helped guide music across some very wild and unchartered territory. His legacy will likely be felt as widely across its future landscape. A place where ‘value’ will hopefully be ‘transferred’ back to ©reators via robust and effective collective rights –  in no small part due to him.”

                           Composer Debbie Wiseman receives her OBE


In the Queen’s Birthday Honour’s list, June 2018, BASCA member Debbie Wiseman was awarded the OBE for services to music.

Debbie is Classic FM’s Composer in Residence and her latest album “The Glorious Garden”, a collaboration with Alan Titchmarsh, topped the UK Classical Chart for three weeks.

In a ceremony at Buckingham Palace on November 16th, Wiseman was presented with her award by Prince Charles.

Also presented with her award that day was Grace Ladoja, founder of Metallic Inc and manager of UK grime star and Ivor Novello award winner, Skepta. She had  been awarded an MBE in the Queen’s 2018 New Year Honours list.



BASCA in association with PRS for Music announce that the 64th Ivor Novello Awards will take place on Thursday 23rd May 2019 at the Grosvenor House, London from 11.30am to 4.30pm.

The Ivors celebrate, honour and reward excellence in songwriting and composing and are judged by the music writing community.

The 64th Ivor Novello Awards will recognise works released in the UK in 2018. They will also honour songwriters and composers with gift of BASCA awards, which recognise outstanding contributions to UK music.

The Ivors 2019 timetable is as follows:

Monday 10th December 2018:
– The Ivors 2019 Rules and Guidelines Published.
– BASCA invites entries, across six nominated categories for song and album releases, film, television and video game scores.

Thursday 24th January 2019
– Tickets on Sale

Thursday 7th February 2019
– Entries close across six nominated categories for song and album releases, film, television and video game scores.

Week commencing 22nd April 2019
– The Ivors 2019 Nominations Announced

Thursday 23rd May 2019
– The 64th Ivor Novello Awards


For more information on The Ivors please visit www.theivors.com

Fran Matthews or Cindy Truong
020 7636 2929


Spotify is attempting to provide more info to publishers to help them understand their payouts better by launching a new Publishing Analytics platform.

According to the official announcement, Spotify Publishing Analytics “will give publishers daily streaming statistics for the works and recordings they have identified, including playlist performance, as well as the ability to view data for each of the songwriters on their roster,”

Spotify’s Jules Parker, Head of Publishing Relations & Services, EMEA and APAC, said “One of our core missions at Spotify is to enable creators the opportunity to live off their art…the publishing community is integral in supporting the songwriters that create the music we love. With more information, publishers are empowered to make the most of the opportunities the global reach of Spotify provides, and the more information we can share with each other, the more opportunities we can help create for songwriters.”


The best new works by Britain’s contemporary composers have been announced today, with thirty-seven composers nominated for the 2018 British Composer Awards across 12 categories including orchestral, jazz, sonic art, chamber ensemble, stage works and wind or brass band.

Highlighting the diversity and vibrancy of contemporary composition in the UK today, the 2018 British Composer Awards nominees include: numerous works demonstrating the ways in which today’s composers give a voice to marginalised groups in society; compositions inspired by poetry and other artforms such as visual art and literature; and works that breathe new life and meaning into history.

Nominees giving a voice to disenfranchised groups in society include: a work by the world’s only ‘recovery’ orchestra (Conall Gleeson), composed and performed by an orchestra in recovery from drug and alcohol addiction; an opera reviving forgotten music by history’s overlooked female composers (Tom Green); and music composed for disabled performers (Oliver SearleLiam Taylor-West).

Compositions taking inspiration from poetry and other artforms include: a piece drawing on world music and Indian poetry to build musical bridges between cultures (Roxanna Panufnik); a reimagining of The Rime of the Ancient Mariner to apply to refugees in the world today, first performed by children who are refugees themselves (Dee Isaacs); and a brass band composition based on coal mining strikes and inspired by poet Mervyn Peake (Gavin Higgins).

Nominated composers reinterpreting and breathing new life into history include: a brass band piece inspired by the life of Alan Turing (Simon Dobson); an orchestral work exploring the notion of ‘Deep Time’ through music (Harrison Birtwistle); a sonic art installation celebrating the rediscovery of a forgotten Baptist Burial Ground (Emily Peasgood); and a full-length string concert inspired by the North Sea Flood of 1953 (Oliver Coates).

A record-breaking year for entries, 2018 saw over 560 submissions, demonstrating the volume of quality new music being composed and debuted in the UK. This year all categories have been judged anonymously for the first time, and a second jazz category has been added. In 2018 51 per cent of the composer are aged under 40, and are first-time nominees.

The British Composer Awards are presented by BASCA and sponsored by PRS for Music. The event is in association with BBC Radio 3 providing exclusive broadcast coverage.

Crispin HuntChair at BASCA, said: “In this record-breaking year for entries, BASCA is delighted to celebrate the breadth of works for the British Composer Awards, representing a wealth of UK talent. As ever it’s hugely exciting and inspiring to see the fresh passion represented by our first-time nominees. Congratulations to everyone nominated today.”

Nigel EldertonPRS for Music Chairman, commented: “I am delighted for PRS for Music to once again be supporting the British Composer Awards, with its impeccable record of recognising the best contemporary classical works. It is inspiring to see that over half of this year’s nominated composers are aged under 40 and first-time nominees, showing that the UK classical music landscape is truly continuing to flourish. Congratulations to you all and I look forward to celebrating with you at the ceremony in December.”

Alan DaveyController BBC Radio 3, added: “Broadcasting the outstanding work of composers from across the UK – throughout our schedule – is an intrinsic part of our role to connect audiences with remarkable music and culture. We look forward to sharing highlights of this year’s awards and some of these marvellous new compositions on the station.”

Celebrating the art of composition and showcasing the creative talent of contemporary composers and sound artists, the winners in each category will be announced at a ceremony at the British Museum in London on Tuesday 4 December 2018.

Presented by BBC Radio 3’s Andrew McGregor and Sara Mohr-Pietsch, the ceremony will include a performance in memory of nominated composer, Oliver Knussen and the presentation of two Gift of BASCA awards – the British Composer Award for Innovation and the British Composer Award for Inspiration, presented in association with the Music Publishers Association.

British Composer Awards 2018 Nominees:

Amateur or Young Performers
Works for voluntary, amateur or youth choirs and ensembles
• Fiery Tales by Richard Bullen
• Microscopic Dances by Oliver Searle
• The Caretaker’s Guide to the Orchestra by Jeremy Holland-Smith

Chamber Ensemble
Six or more instruments or voices written for one player or voice per part
• Libro di fiammelle e ombre by James Weeks
• O Hototogisu! by Oliver Knussen
• Tanz/haus : triptych 2017 by James Dillon

A cappella or accompanied, except works for choir and orchestra
• In the Land of Uz by Judith Weir
• Mielo by Raymond Yiu
• Unending Love by Roxanna Panufnik

Community or Educational Project
Works demonstrating a composer’s work in community engagement alongside compositional craft
• Solace by Conall Gleeson
• The Rime of the Ancient Mariner- a retelling for our times by Dee Isaacs
• The Umbrella by Liam Taylor-West

Jazz Composition for Large Ensemble
Nine or more instruments or voices that contain interactive improvisation as an essential element
• Afronaut by Cassie Kinoshi
• Rituals by Matt London
• Time by Finlay Panter

Jazz Composition for Small Ensemble
Up to eight instruments or voices that contain interactive improvisation as an essential element
• Close to Ecstasy by Simon Lasky
• Vegetarians by Ivo Neame
• You’ve Got to Play the Game by Johnny Richards

• Deep Time by Harrison Birtwistle
• Recorder Concerto by Graham Fitkin
• The Imaginary Museum by Julian Anderson

Small Chamber
Three to five instruments or voices written for one player or voice per part
• Chant by Charlotte Bray
• Lines Between by Robert Laidlow
• Unbreathed by Rebecca Saunders

Solo or Duo
Instrumental or vocal music performed by one or two players or voices
• A Damned Mob of Scribbling Women by Laura Bowler
• Belmont Chill by William Marsey
• The Harmonic Canon by Dominic Murcott

Sonic Art
Sound art installations, electronic music and works with live electronics
• Halfway to Heaven by Emily Peasgood
• The Otheroom by Rolf Wallin
• Two Machines by Cevanne Horrocks-Hopayian and Hugh Jones as ‘Crewdson & Cevanne’

Stage Works
Works specifically written for the stage, including opera, dance and musical theatre
• Shorelines by Oliver Coates
• The Exterminating Angel by Thomas Adès
• The World’s Wife by Tom Green

Wind Band or Brass Band
• Dark Arteries Suite by Gavin Higgins
• Mindscapes by Lucy Pankhurst
• The Turing Test by Simon Dobson

Works eligible for the 2018 British Composer Awards must have received a UK premiere between 1 April 2017 and 31 March 2018. Works are also composed by a composer born in the UK or ordinarily resident in the UK.

For more information visit the British Composer Awards website

New Industry Figures reveal surge in exports, recorded music and jobs in record £4.5BN boost to economy

  • UK Music’s 2018 Measuring Music report reveals UK music industry exports rose by 7% to a record £2.6 billion last year
  • Big rises in recorded music and publishing revenues help fuel export growth
  • Music industry jobs rose by 3% to a new high of 145,815 people
  • The UK music industry grew by 2% in 2017

The UK music industry grew by 2% in 2017 to contribute a record £4.5 billion to the economy – up by £100 million on 2016, a new report by UK Music reveals today.

UK Music published the findings of its Measuring Music 2018 report today (Thursday November 1) to highlight the scale of the industry’s contribution to the economy.

The flagship annual economic study by UK Music and its members showed that the music industry continued to grow last year across almost every sector.

Among the big success stories were the record music sector which saw a rise of 9% to £700 million and music publishing which grew by 7% to £505 million in 2017.

Successful British acts including Ed Sheeran, Dua Lipa, Rag’N’Bone Man, Stormzy, Harry Styles and Depeche Mode helped exports of UK music soar in 2017 by 7% to £2.6 billion.

Millions of fans who poured into concerts ranging from giant festivals to grassroots music venues generated a contribution of live music to the UK’s economy of around £1 billion (£991 million).

UK Music measures the health of the music business each year by collating data from our partners about the industry’s contribution in goods and services, known as Gross Value Added (GVA), to the UK’s national income or Gross Domestic Product (GDP).  Exports are part of this contribution.


(All figures are the music industry’s GVA to the economy in 2017 + the percentage rise on 2016 figures)

  • Whole sector’s contribution to economy – £4.5bn (+2%)
    • Musicians, composers, songwriters and lyricists – £2bn (+1%)
    • Recorded music – £700m (+9%)
    • Music publishing – £505m (+7%)
  • Exports (whole sector) – £2.6bn (+7%)
    • Recorded music – £468m (+11%)
    • Music publishing (exports) – £719m (+11%)
    • Music representatives (exports) £348m (+9%) (see footnote)
  • Employment (whole sector) – 145,815(+3%)

UK Music chief executive Michael Dugher welcomed the figures, but delivered a warning about the need to nurture the music industry’s talent pipeline.

Mr Dugher said: “British music brings enjoyment to millions and makes a massive contribution to the UK plc. I’m really proud of the fact that these figures show once again that when it comes to music, we in the UK are very, very good at what we do.

“We are a global leader in music and we continue to grow faster than other parts of the British economy and to punch well above our weight.

“Music exports are a particular British success story and organisations like PRS for Music and PPL, that help ensure creators and investors see a return for their work, have also performed particularly strongly in 2017.

“These figures show what can be achieved when we choose to back the British music industry.

“Every child from every background should have the opportunity to access music, to experience its transformative power and to try out a career in the industry if they want to – regardless of whether or not they have access to the Bank of Mum and Dad.

“That’s why we need further government support to help us ensure we produce the next generation of world-leading British talent by backing music in education, protecting grassroots music venues and making sure that creators are properly rewarded for their work. If we do that, we can be even more successful in the future.”

UK Music chairman Andy Heath said: “We are fortunate that levels of creativity in the music industry are really promising at the moment.

“It is a fantastic time for music-makers and for consumers – both in the variety of music on offer and the different ways that people can choose to listen to music.

“However, there are challenges.  It is difficult in the digital age to break new talent because of the sheer quantity of music out there in a crowded marketplace.

“That difficulty is growing and means brilliant creators have to fight harder than ever to get their music heard.

“In the years ahead, it will be a test to help audiences and consumers differentiate and find the musical gems that make our industry so unique.

Minister for Digital and the Creative Industries Margot James said: “The report demonstrates continued sustained growth with the music industry now contributing £4.5 billion to the economy. Exports have risen to £2.6 billion and the sector employs 145,815 people.

“2017 was a very successful year globally for the UK music industry. Ed Sheeran’s third album ÷ (Divide) was the biggest selling album of the year. The O2 in London was officially the most popular live music arena in the world. Five of the top ten most successful worldwide tours were from UK acts. 2018 is proving to be no different

“We need to build on these achievements and as the Minister responsible for the creative industries I am firmly committed to doing just that.”

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