UK Music, The Association Of Independent Music, the BPI and the Musician's Union have all sent last minute pleas to the BBC Trust, asking for BBC 6music to be saved.

In a statement introducing a lengthy submission from UK Music, which includes a case study of the support 6music has given Moshi Moshi Records, and contributions from PR firm Anorak London and indie label Full Time Hobby Records, the trade body's head Feargal Sharkey says: "It is vital that as an industry our voice is heard clearly, prominently and with determination. If nothing else, the BBC needs to understand that its current proposals for 6 are misinformed, inappropriate and, as an industry, not an option we are prepared to explore".

Also contributing, in her role as an artist who released her first single through the aforementioned Moshi Moshi and who only received radio play on 6music at the start of her career, Florence 'And The Machine' Welch said: "6music gave me so much support at the start, and throughout my career, and I think the BBC would be failing to support young and upcoming talent if they were to take it off the air; no other radio station is as committed to playing new and alternative music, it would be a huge loss to the airwaves".

Echoing Florence's words, AIM's Alison Wenham said in her own organisation's submission: "It is right that the Association Of Independent Music - whose member companies are the finders and incubators of almost all new British music creators, performers and entrepreneurs - should stress the importance of 6music to independent music. 6music is a radio station which has quickly established itself as pivotal in this process of talent development. Readily available data clearly shows mainstream BBC music networks' content is dominated by the major multinational entertainment companies - which suits these networks' daytime audiences and competes with commercial music radio. Without 6music independent new music has no national radio station".

Communicating major as well as indie label support for 6, BPI boss man Geoff Taylor said: "6music is exactly the kind of programming the licence fee is there to support - distinctive, high quality broadcasting that the commercial market would not provide. This is a chance for the Trust to stand up for the rights of the listener, and save a national treasure.  Signing its death warrant would not only let down music fans, it would fail generations of British artists who do not get played otherwise".

The MU, meanwhile, broke its response down into twenty points of fairly balanced arguing, concluding: "[BBC management's proposals] contains a lot that the MU can support in terms of an overall strategy and vision for the BBC, but we are concerned that some of the cuts and reductions in current services seem to be aimed at appeasing the commercial and political forces that want to see a smaller and weaker BBC that does not fulfil its high ambitions. We would urge the BBC not to fall into the trap of offering unnecessary sacrifices in order to satisfy those who will always criticise the BBC".

The BBC Trust's public consultation on the Corporation's strategic review, which proposes the cutting of 6, that other incredibly important radio service the Asian Network, and a raft of other BBC services, closes today. You have until 5pm today to submit your views, which you can do here:

http://consultations.external.bbc.co.uk/departments/bbc/bbc-strategy-review/consultation/consult_view

So, the BBC Trust's consultation on those proposals to shut BBC 6music, as well as a plethora of other services, ends tomorrow, making this your very very very last chance to protest.

As previously reported, former culture minister Ben Bradshaw said at a UK Music event earlier this year that he had been assured by the Trust's top man Michael Lyons that this was a genuine consultation and nothing in the Strategy Review written by BBC twonks was untouchable if the Trust believed management had got it wrong.

Much has been written since plans to shut 6 emerged as to why the BBC's only music-for-music's-sake service should be saved. As the Consultation deadline approaches, we summarise the argument in six sentences:

1. The UK has one of the most exciting, innovative and prolific music communities in the UK, contributing to ever expanding catalogues of great music across a plethora of genres; this cultural brilliance should to be represented by a truly eclectic media platform.

2. The commercial TV and radio networks represent only a tiny portion of this community, and do little to champion musical innovation, because the commercial sector struggles to monetise niche audience services, even when the niches together constitute a substantial number of people.

3. The BBC therefore has a duty to provide this truly eclectic media platform - and it does so through 6music - no other part of the BBC TV or radio network performs this task, despite the Corporation having an entire division with 'music' in its name (a division currently run by a fizzy drinks marketer).

4. The BBC Strategy Review is in part designed to placate the new Conservative government who are concerned about the Beeb unfairly competing with commercial rivals - but 6music competes with no one, and senior Tories have said they recognise 6 as an example of a great BBC service.

5. The Review is also in part designed to placate the commercial media moguls who accuse the BBC of using licence-fee funds to unfairly compete - but 6music does not compete with any commercial media, and shutting it won't placate any commercial player for even six seconds.

6. The BBC is committed to encouraging radio listeners to move to the DAB network; doing so requires providing compelling, innovative DAB-only programming - like 6music and The Asian Network - so the BBC's strategy review not only doesn't satisfy the aims of the Tories, or the commercial media barons, it doesn't even satisfy the aims of the BBC.

As the consultation deadline approaches, the Facebook group leading the campaign to rescue 6music staged a second demonstration outside the BBC's Broadcasting House on Saturday. Liz Kershaw, Cerys Matthews, Andrew Collins, Richard Herring, Shaun Keaveny, Matt Everitt, Lib Dem peer Tim Clement-Jones and comedian Ed Byrne were among those who spoke at the event, which - aided in part by the impromptu heatwave - saw an even bigger crowd of supporters gather than at the first rainy demo. After waving their fists in the general direction of BBC management, the always polite Save 6 protestors headed en masse to 229 for some quality music.

Speaking after the demo, one of its organisers, Georgina Rodgers, told CreativeBusiness: "We believe that our responses to the BBC Trust consultation, our complaints to the BBC, and our public protests have put forward a compelling counter-argument to [that of] BBC management. We have provided hard evidence that, rather than being a station that can be sidelined, 6music is a shining example of the 'quality and distinctiveness' that the BBC is aspiring to with its Strategic Review. We are now hoping that the BBC Trust will make sure that the BBC listens to the voice of the public, which has spoken loudly and clearly".

If you haven't already, you can add your opinions to the debate at the BBC Trust website below. The Save 6 Facebook group also provides a bunch of email addresses we can all send our outrage to as the consultation deadline approaches, just so the Trust geezers' inboxes scream out "Save 6" this week.

BBC Trust consultation form

Facebook Group

The axe may be hanging very perilously over BBC 6music just at the moment, but it's not all bad news for 6 fans. George Lamb is quitting the station. And his decision to go was partly motivated by the digital station's uncertain future. So, if the Trust do now save 6, the period of potential doom won't have been totally wasted.

Lamb, of course, was probably the most controversial hire at 6music, his laddish zoo-style show on daytime mornings not going down well at all with the majority of the 6 faithful. Once his champion at the station, former BBC Radio 2/6 boss Lesley Douglas, was pushed out of the Corporation post-Sachsgate, Lamb was sidelined to the weekend breakfast show slot. His decision to quit, therefore, comes as no surprise.

He said in a statement yesterday: "This isn't a decision we've taken hastily. We've been reviewing our situation for some time and we've always looked for opportunities to maximise the show's potential. I leave 6music with fantastic memories, and will always look back at my three and a bit years with great joy. [Co-presenter Marc Hughes] and I have been overwhelmed by the support we've had from the 6music management and our incredible listeners from day one. I wish everyone at the station the best of luck in this transitional period and my support for the station will always remain".

A statement from the Beeb read: "6music would like to thank both George and Marc for their commitment to the network over the past three years. We will miss their banter, tunes and air horns and wish them well in their future endeavours".

Google recently acquired an online content distribution start-up called Simplify Media, and now everyone seems to think the web giant plans to use the company's technology to launch some sort of music service accessed via an app on phones using its Android operating system.

The original Simplify Media service, which included an iPhone app, went offline in March promising an imminent relaunch. If Simplify is now used to power an Android-based streaming music service, the firm will be going in competition with the iPhone and any Apple-owned music services.

Speculation continues to be rife that Apple are about to launch a Spotify-style streaming music service that will be delivered to PCs via the iTunes player and to the iPhone via an app.

Sarah Rodgers, chair of the British Academy Of Songwriters, Composers and Authors, used her opening speech at yesterday's Ivor Novello Awards to attack the BBC's proposed plan to close down 6music, Music Week reports.

Addressing the audience, though aiming her words directly at the BBC, she said: "The end of 6music is an act of cultural vandalism. [The BBC's role is to] enrich people's lives with programmes that inform, educate and entertain. That sounds to me like 6music. Your mission is to be the most creative organisation in the world. What more could be more creative than 6music?"

If you have not yet submitted your views on the BBC's current strategic review, including the closure of 6music and The Asian Network, you have until Tuesday. To do so, go here.

Perez Hilton has reportedly been offered $20 million for his website, PerezHilton.com, according to Gawker.

The deal has apparently been proposed by Avid Life Media, who paid the same amount for HotOrNot.com in 2008. The deal would see Hilton, real name Mario Lavandeira, paid $18 million up front, plus a further $2 million a year later.

Avid Life Media would apparently bring in fellow celebrity gossip blogger Zack Taylor and Nik Richie, who runs adult gossip site TheDirty.com to operate the site, with Gawker speculating that the PerezHilton.com URL would used as a "sort of massive traffic-forwarding address to a new gossip site".

No word yet on whether Perez plans to cash in.

The Office Of Fair Trading has said it will not investigate Project Canvas, the previously reported collaboration between the BBC, ITV and BT, and others, to develop a standard platform for providing video-on-demand services to Freeview and Freesat viewers. The project has been criticised by some, most notably Sky and Virgin, who offer rival VoD platforms, who say that for so many broadcasters and net firms to collaborate is anti-competitive.

However, while the OFT did step in when the BBC, ITV and Channel 4 tried to actually go into business together and launch a jointly owned VoD service (what eventually became SeeSaw, but without direct BBC, ITV or C4 involvement because of OFT and Competition Commission concerns), they seem to have no problem with those companies and others collaborating on VoD standards, which means that tech companies can more easily make set-top boxes that will work with all network's on-demand services.  

The difference, the OFT says, is that Project Canvas is just a technology-based collaboration, and not an actual VoD service that will utilise BBC, ITV and C4 content archives. It was the market dominance those broadcaster's archives could deliver that raised competition concerns with SeeSaw.

Virgin Media have already criticised the ruling, and Sky presumably will follow suit anytime now.

A senior BBC manager has left the Corporation following an investigation into how The Times got a leaked copy of the Beeb's big cut plans, which included the news 6music and The Asian Network would be axed.

The paper got a copy of the highly confidential and slightly secret document eleven days before it was due to be published. Once The Times ran with their story in February, the Beeb were forced to release their plans over a week early, and face a whole bunch of media backlash without their complete PR plan in place. BBC top man Mark Thompson was reportedly furious about the leak.

An internal investigation reportedly identified with BBC-er had passed a copy of the document to The Times. In a statement yesterday, the BBC said, simply: "An investigation has been satisfactorily concluded and an individual has now left the BBC".

Elsewhere, the record industry stepped up its campaigning against the proposals to close 6music yesterday by launching an artists endorsement filled website at www.thejoyof6.com.

Absolute Radio has settled its trademark dispute with Absolut vodka. Those with good memories will remember the vodka company objected to Virgin Radio being rebranded with the Absolute name in 2008, despite the difference in spelling and the fact they sell booze rather than radio shows.

The drinks company said they believed there could be confusion between their two brands, and also pointed to their music sponsorship activity and an Absolut branded music website as an area where the two firms had operations in common. Trademark infringement and passing off litigation followed.

But both companies confirmed an out of court settlement had been reached this morning. The terms of the deal aren't known, but Absolute Radio boss Clive Dickens said: "Absolute Radio is pleased with this settlement which will see us continue to build our music radio brand and advance our position as one of the leading commercial radio networks in a digital age".

Bauer Media has launched a new online radio player which will be used by all its radio stations, including Kiss, Magic, Kerrang! and local stations in the Big City Network. The radio firm says the new player will make it easier to access its programming online, that content will be available in a better quality, and that sell-through functionality will enable listeners to buy music that appears on its playlists.

Bauer's digital man Bruce Mitchell told reporters: "The new player is a great step forward for Bauer Media's radio brands online. It provides an easy to use interface and at the same time offers music purchase, right from within the player".

The commercial radio sector's online radio platforms, especially those offering listen again content on-demand, have generally lagged along way behind the BBC's iPlayer service, and the Beeb has made its expertise available in this domain for the creation of an industry wide UK Radioplayer which is due to launch later this year (though Radio Today report that launch will now be later than originally thought).

The Bauer player will compete with the UK Radioplayer, even though the radio group's stations will appear on the industry-wide platform.

6music is giving four c'lebs the opportunity to present one of its specialist shows, for reasons of which I am not sure. The Sun's gossip monkey Gordon Smart will fill in for Steve Lamacq on the station's 'Roundtable' music review programme; then Top Gear's James May will fill in on Bruce Dickinson's 'Friday Night Rock Show'; Ruth Watson, who does home refurb shows apparently, will take over Craig Charles' 'Funk & Soul Show'; and Matthew Wright will present the 'Freak Zone'.

6music editor Paul Rodgers says: "Celebrity takeovers are fairly commonplace in radio, but at 6music, we wanted to add a bit more of a challenge to the usual celebrity plus a bunch of songs format. We wanted to find people who were able to demonstrate their passion and knowledge about music on our specialist music shows. Quite a tall order but having seen the music our celebrity guests plan to play, I think listeners will be impressed".

Bearded magazine founder Gareth Main has teamed up with James Elliman from music blog MonoMusic and Anthony Chalmers from music promoters God Don't Like It to launch a new weekly podcast dedicated to independent music called, wait for it, the Independent Music Podcast.

All the music played will come from labels "100% independent from the majors", and the show will also champion some unsigned artists too. The show is accessible via MixCloud or can be downloaded via iTunes.

More at www.independentmusicpodcast.com

US music mag Rolling Stone today launches a new website which will have one of those crazy pay-walls in place, meaning users will have to pay a four dollar per month subscription fee to get access to the full site. Online-only content will still be free, but users will have to pay to access articles from the print magazine. A subscription will also get users access to the music mag's entire archive, which stretches back over 40 years.

Rolling Stone is unusual in the magazine world in that its print circulation is actually up, and its privately-owned publishers insist the title is still profitable. Still, it's known all important ad sales were down last year, so the subscription-based online service is presumably a bid to secure new additional revenues.

Given publishers across the newspaper and magazine industries are pondering over whether a subscription-based model could work for their online titles (given most original attempts at online subscriptions back in the day did not), I think it's fair to say a fair few media owner types will now be watching with interest how the all new Rolling Stone website fairs.

Media regulator OfCom has confirmed that, following the passing of the Digital Economy Act last week, they will allow local radio groups to pool more of their programming resources between stations, but on the condition some savings are used to safeguard local news content.

As previously reported, a number of radio firms have said that operating very localised FM services is no longer commercially viable, and they have been pushing for a change to radio licensing rules to let them syndicate more programming across their networks of local stations, and to enable them to base more of their station's core operations in one location.

OfCom remains keen to ensure local radio stations fulfil their commitments to provide local news content, even though it's hard to make money from such stuff, but in return will let stations reduce the amount of other locally-made programming they have to air so that radio firms can make the cost savings they say they need to survive.

Under new regulations, stations will be able to apply to cut the minimum amount of locally-made programmes that must be aired each day from ten hours to seven. The regulator will also loosen rules that restrict the co-location of stations owned by one firm in one place, meaning that while programmes that fulfil the 'local' quota will only broadcast in one locality, they might not actually be broadcast from that area.

Commercial radio trade body RadioCentre, which has been pushing for such changes, "cautiously welcomed" OfCom's announcement yesterday, but called for more rule changes. Their boss Andrew Harrison told reporters: "These proposals from the regulator do little to change the current operating costs and regulatory burdens on most small stations. In particular, the areas proposed for co-location and programme sharing are so narrowly defined as to make no practical operational difference for many [smaller] stations".

Some argue that by reducing the localness of local radio, and relying more on syndicated music programmes, the commercial radio firms are further watering down the main USP of their services, which will make it harder for them to compete once internet-based radio and music services go mainstream, and especially when said services reach the car. So if said radio firms push for further changes to localisation rules to fix short term problems, they'll lose out even more in the long term.

Record label trade body the BPI yesterday issued a statement formally calling for the BBC to save digital music station 6music, which, of course, Corporation bosses want to close next year. The statement follows the previously reported industry delegation who rocked up at the BBC Trust earlier this week to try and persuade bosses there to block the Beeb's proposed radio cutbacks. 

In the industry delegation was Sony Music's Paul Curran, Universal's David Joseph, Warner's Jeremy Marsh, EMI's Andria Vidler and Infectious Music's Korda Marshall plus reps from trade bodies the BPI, UK Music, the Association of Independent Music and the Music Managers' Forum.

Yesterday's statement outlined the argument the music industry bods presented earlier this week. They argued that 6 provided a music service that could not be replicated in the commercial sector, and therefore the station is an excellent example of the BBC's public service mission in action. That the station plays an important role in the country's cultural life, by showcasing new and alterative artists. That 6 should be thought of as contemporary music version of Radio 3, rather than an alternative to Radios 1 and 2, and its audience size should be viewed in that context. And that putting the bigger 6 shows on Radios 1 and 2 would just see alternative music saddled with graveyard slots.

They also used the opportunity to complain again about the lack of a weekly music show on prime-time BBC TV since the demise of 'Top Of The Pops'.

Confirming the industry's support for 6, BPI chair Tony Wadsworth told CMU: "We cannot see the sense in pulling the plug on a successful outlet for artists, both new and established, that are not being played on either Radio 1 or 2. 6 Music has significant cultural worth and public value that you can't measure by audience numbers alone, and it provides programming that commercial radio does not".

The vast majority of music journalists in the UK are not ready to switch to digital-only promos, according to a new survey of music media people undertaken by CMU.

Following the announcement by Sony Music last month that they intended to phase out all physical promo CDs, so that in future DJs and journalists will only receive advance copies of their releases in a digital format, Creative Business's music news bulletin CMU surveyed 100 music journalists about the way they are 'serviced' by record labels and music PR companies. The first question we asked was how those journalists would prefer to receive advance copies of single and album releases.

75% of those surveyed said their still preferred to receive review and pre-release copies of music in a physical format, ie as a CD. Five main reasons were given to justify this preference.

First, many said that digital preview services that require a journalist to sit at their computer misunderstood how most reviewers go about experiencing new music before writing a review. Those journalists argued that before starting a review they'd listen to an album several times over, normally while at home, or on the move. A CD lets reviewers play albums on home stereos or in the car, or they can rip tracks to an iPod for previewing while out and about.

Second, others, presumably those writing for older music consumers, argued that when they review an album they are not just reviewing a group of stand alone tracks, but the whole package that their readers may or may not wish to purchase. For them, that includes the packaging, artwork and liner notes, and the experience that you get from opening a new CD and putting it in your player for the first time. Digital-only previews do not allow such reviewers to get the "whole experience".

Third, some of those surveyed were review editors, and a number of them said that the system they used to manage the commissioning and publishing of reviews relied on physical product, which can be placed in racks on a desk, and is therefore much easier to manage that processing a plethora of emailed links and digital files in folders on a computer desktop.

Fourth, those running more grass roots music magazines and websites pointed out that their reviewers were not paid for their work, and that a perk of the job was the get a CD in the post which, if they liked the album, they could keep. A digital copy was less attractive, especially if it was a stream, because there is not permanent "gift" to keep in that scenario.

Fifth, a number of journalists pointed out that the PC technology being used by some media - especially regional and local media - is hardly bang up to date, with some still using versions of Windows which first surfaced in the 1990s. For these people many of the digital preview systems simply don't work.

Of course, it is probably inevitable that all record labels will move to a digital preview system eventually, the cost and time involved in pressing and mailing CDs to journalists being an obvious expense for cash strapped record companies to cut. But, while it seems that many reviewers will resist any move to digital previews, there is definitely a lot more resistance to streaming preview services than to MP3-based preview downloads. Of the 25 journalists who expressed a preference for digital promos, 18 said they preferred links to MP3s, while only 7 preferred links to preview streams, ie the kind of digital previews currently being offered by Sony Music and most other labels.

In fact, while some journalists are resistant to any move from physical to digital promos, it is possible some of those hanging onto CDs are doing so because they are unimpressed with the stream-based preview platforms currently being used by record companies, certainly the majors. It is possible that an MP3-based preview platform could overcome many of the concerns raised about the move to digital promos.

But, in the short term, it seems Word magazine boss David Hepworth was probably right when he predicted that Sony will find turning all music hacks to digital promos very difficult and that  "within a year, when they want reviewers to take notice of something, they'll start sending out [physical] copies again".

You can read the CMU team's take on the survey here.

The promo CD debate is just one of several things covered by CMU's music journalist survey. Details of other matters discussed will be revealed here in the CMU Daily in the coming weeks. More information on the survey will also be presented at the next CMU seminar on music PR, which takes place next Wednesday at CMU HQ in Shoreditch. This full day training event reviews the state and future of the music media, offers a beginners guide to music PR and best practice press releases, a summary of the aforementioned journalist survey, and a review of social media and its role in music marketing in 2010. Some places are still available, full info at www.theCMUwebsite.com/events.

The BBC's 6music has announced it is axing its weekly music news magazine programme The Music Week, which was hosted by the station's news editor Julie Cullen and her colleague Matt Everitt. However, plans are afoot to expand the amount of music news that appears on the station during daytime instead.

Cullen told Music Week (the trade mag, not her own show): "Myself, Matt Everitt and the team are expanding music news coverage to appear across daytime programming and keeping features, updates, tour dates, industry news and big interviews as always. We're also hoping to include more international news, tour diaries and features on brand new bands, so please don't hesitate to get in contact with all your usual press releases, interview opportunities and anything else that you think might be of interest to 6music and Radio 2 listeners".

Some wondered if the axing of The Music Week was a sign 6 was moving away from bespoke news content, perhaps in preparation for plans to wind the station down next year. But Cullen seems to be saying that, for the time being, it's "business as usual".

Talking of 6music and the Save 6 campaign, as UK music industry chiefs met with the BBC Trust to air their concerns about the 6 closure plans yesterday, the Beeb's head of Stuff And Shizzle Tim Davie denied those resurgent rumours that the Corporation may as yet u-turn on their decision to axe the station but rebrand it as Radio 2 Extra.

As previously reported, those claims resurfaced in a Sunday Times report last weekend, and basically say that BBC bosses are considering saving 6 but renaming it 2 Extra, so that it fits in with plans to only have five national radio brands.

But writing on the About The BBC blog, Davie said: "Firstly, let me make it clear that, while we have proposed rebranding Radio 7 as Radio 4 Extra, there are no such plans for 6music. But I should also explain that the proposals made in the Strategy Review are the first part of a process. The BBC Trust are currently consulting the public on those proposals and nothing will happen until after the consultation is closed".

He continued: "I [have previously] outlined the rationale for the closure of 6music and said that we will reinvest any funds from the proposed closure of 6music in digital radio content. This commitment to digital radio remains and we are looking at a number of ways of doing this. I said we would look at protecting some 6music programming by redeploying it elsewhere and considering how we can also do justice to its legacy in areas like new music development. This commitment also remains. But simply rebranding 6music as Radio 2 Extra is not one of our plans".

Chris Evans will take over from Adrian Chiles on the BBC's nightly magazine show 'The One Show' on Friday nights, it has been confirmed. The move is part of a plan to make the only slightly tedious nightly waffle show more entertainment focused on a Friday night.

Whether than will mean the Beeb will be introducing some new prime-time slots for music people looking to plug their records isn't clear, but TV plugger types will presumably be hoping so.

So, the election campaign has begun and, while it seems far too close to call with regards who might be forming the next government come May, what we do know is there will be a whole new generation of MPs taking seats in parliament this summer, with a large number of new parliamentarians expected to be voted in, if only because so many existing MPs have chosen to step down following a tricky twelve months for the political class.

And that could have an impact on the way the political community communicates with the electorate. PR firm Fishburn Hedges and researchers ComRes spoke to 100 new parliamentary candidates who seem likely to win a seat in the Commons on 6 May, and found - perhaps unsurprisingly - that digital platforms and social media are already much more important as communication channels for these future MPs.

83 of those interviewed are already using Facebook as a key communication tool, while 50 were also on Twitter. 84 said that Facebook, Twitter and blogs would play an important part in the way they communicate with constituents if they win at the election, while 82 said they expected to treat contacts made via social networks with the same importance as a formal written letter.

Fishburn Hedges Associate Director Simon Redfern told reporters: "A lot of new candidates have really embraced social media tools and talk to their constituents using these channels. But what's good for the campaign may not work as well in power. [But] new candidates are innovating with the tools available. You only have to look at Charlie Elphicke's (Conservative, Dover) use of Chat Map, Chuka Umunna's (Labour, Streatham) YouTube channel and Stella Creasy's (Labour, Walthamstow) Facebook page to see how modern political campaigning is changing".