CMU Daily - on the inside Friday 15th February
yesterday's Daily - Daily archive

In today's CMU Daily:
- EU commissioner supports copyright term extension
- Clear Channel in multi-million pound settlement over Great White fire
- Yayo gets community service over Rosemond Junior run in
- Winehouse thanks Sun for exposing Amy
- More Britney
- Feist lady says Nano ad was good
- Ono: I'm not suing Murphy
- Mercury-themed jewellery launched
- Beatles flat for sale
- Mr Knowles responds to Aretha's soul queen remarks
- Frank Black single
- Guillemots stuff
- Massive Meltdown
- Halliwell: Spice Girls won't return
- Acts announced for Motorshow
- EMI pubs sign Sparro
- Imeem to buy Snocap
- ABC round up
- Lily ratings disappointing some claim
- Gallagher and Appleton marry
- Furtado denies pregnancy
- Minogue to tone it down
- Manson's absinthe sucks, say critics


Now, forgive me for talking about ourselves again, but you may or may not know that CMU came about, more or less exactly ten years ago, as a result of my co-founder Alastair Walker's involvement in founding the very first Student Radio Chart - ie the weekly chart based on what music is being playlisted on student radio stations around the country.

I won't bother you with the details on how the chart led to CMU, I'll tell you that some other day. But I am mentioning it today because ten years on the Student Radio Chart steps up a gear this weekend with the launch of a brand new Student Radio Chart Show which will air on twelve student radio stations this and every Sunday at 3pm.

This chart show is different to any that have gone before it because it will be produced by the twelve stations who are broadcasting it - each station producing the show a week in turn. The first station to host the chart will be URN in Nottingham, who will do it this Sunday, 17 Feb, at 3pm.

Many of these stations broadcast online, so anyone can listen to the show live. If you go to on Sunday you will find links to all the participating stations, and you can tune in via one of those station's webcasts. The site will also publish the latest chart, which will also appear here in the good old Daily each and every Monday during term time.

Meanwhile, have a quote from the Student Radio Association, who are behind the chart and chart show: "This is an incredibly exciting time for the student radio community in the United Kingdom. Despite the huge number of student radio alumni working in influential positions within the UK's media industry, and over 70 student radio stations in the UK, public appreciation for the importance of student radio is incomparable to that of America or Europe, for example. The Student Radio Chart Show will not only improve this situation, but more importantly provide an outlet for music selected by the student population that does not always find a place on existing UK chart shows".

For more info on the chart email [email protected]



Get Involved are recruiting for Account Executive / Account Manager with experience in Consumer Technology PR. Must have a passion for music and a good and active understanding of social networking, blogging and new media. A solid contact base is essential and must be a team player. CVs to [email protected] -

Supporting Ninja Tune, Big Dada & Counter Records marketing team. Organising marketing activities and materials inc merchandise, adverts, events, appropriate brand hook-ups etc etc. Chasing publicity people and compiling weekly reports, writing sales notes. Tenacious, intelligent, likeable. Starting salary £18,000. Contact [email protected]



We have desk and office space available at our spacious, newly refurbished base in London's Docklands. You'd be sharing with a company operating in the creative, cultural and marketing space, and the facility would best suit individuals or SMEs operating in those sectors. We are just minutes from South Quay DLR station, and ten minutes walk from the main Canary Wharf complex and Jubilee Line station. Rent includes broadband internet access and meeting room facilities. Spaces available immediately. For more information contact [email protected]



The next CMU recommended Remix All-Nighter takes over the seOne Club at London Bridge next month for a brilliant pre-Easter party.

There'll be three rooms of fun. In the Remix room you'll get live sets from The Whip and Vitalic, plus Remix chief Eddy TM on the decks and VJ Fay Buzzard doing visual stuff. Next up will be a room hosted by Orbital co-founder and general dance music pioneer Phil Hartnoll, named for and showcasing his new venture Long Range. And then, to top off all that, there will be a whole room of all things Ninja Tune, featuring no less than DJ Food & DK, Coldcut (Jon Moore DJ Set), Bonobo, Daedelus, The Qemists and VJ Mox. Oh, and they've just added Busy P (Ed Banger) to the bill too. This night is going to be storming.

It all takes place on 20 Mar. Full info from:


VIGSY'S LIVE TIP: Roni Size Reprazent at Scala
1997's 'New Forms' was a well wicked album, and ten years later Size is augmenting it for the young uns, using his latest digital trickery, and adding also a few new tracks from his Bristolian collective. I saw Size et al at Tribal Gathering back in 97 - their live drum & bass act was a rarity back then, and that gig was one of its first outings, but Roni and crew had an energy about them which carried them through a few teething problems (mainly a dodgy sound system) and secured them their reputation as leaders in the live d&b field. I am sure they are gonna tear the roof of the Scala on Tuesday, and if you haven't got a copy of 'New Forms', either edition (possibly both), you are truly missing a piece of drum & bass history.

Tuesday 19 Feb, Scala, 275 Pentonville Road, London, N1, doors 7.30pm, £13.50 adv, details at


So, the record industry started the week with rumours that the British government were considering making the internet service providers take responsibility for illegal file sharing, a move that could seriously cut the illegal distribution of music online, and ended the week with the news that a senior European Union official has come out in support of extending the sound recording copyright term to 95 years - that's a good week. Of course neither of these proposals may end up being actual law, and even if they do, it will probably take two years to bring about any change by which point the major labels will probably have downsized so much they'll all be sharing a small hut in Hammersmith employing between them fourteen administrators and a dog. But hey, let's stick with the positive thing shall we?

So, yes, the European Union's Internal Market Commissioner, Charlie McCreevy, yesterday announced he intends to propose an extension to the sound recording copyright in Europe to 95 years. As you all probably know, especially if you're the owner of a sound recording, the copyright term on recordings in Europe is currently fifty years. Those who own such copyrights think this is far too short - especially those record companies sitting on early rock n roll catalogue from the late fifties and early sixties which is all about to come out of copyright, meaning that anyone - me, you, your mum - can distribute or sell those recordings providing they pay the publishing royalty on the songs.

When asked to justify extending the term, the record companies tend not to say this: "Even though we've sold everyone those sixties songs about nine times already, on record, then cassette, then CD, then download, then artist best of, then sixties best of, then sixties best of 2, then sixties best of best of, then cover mount CD, then movie soundtrack, we think we should be able to screw even more cash out of them". Instead those who advocate a longer copyright term for recordings tend to dwell on the inconsistencies between the sound recording copyright and the copyright that exists in the actual song (ie the words and notes), and in any words published in the CD booklet, and the photo on the album cover, all of which have copyright protection for the life of the creator plus seventy years, which is very likely to be at least double the recording copyright.

They may also point out that the recording copyright in the US is 95 years. And they're sure to tell you about all the small time artists and musicians who have ownership of or interests in sound recordings, and who depend on the royalties those recordings generate to fund their crack addictions. I mean, buy milk and pay the rent. The point they'll be trying to make there, of course, is that this isn't just about major multi-national corporations wanting to make even more money out of five decade old investments (though it partly is), but that there are many jobbing musicians who can only afford to do what they do because of royalty payments.

As much previously reported, extending the sound recording copyright term has been a big topic here in the UK of late, partly because all those big early sixties recordings are close to the end of their terms, and partly because of the government's Gowers Review of copyright laws. Though Gowers, as also previously reported, didn't prove too helpful in this matter, recommending to the government that the fifty year term should stay.

That said, there is some support in UK political circles for an extension plus this is really a European level issue (because of the need for "harmonisation across the European free market", and all that gubbins), which is [a] why much of the record companies' efforts in extending the term are now focused on lobbying European level politicians and [b] why McCreevy's comments were important.

Here's what McCreevy said yesterday: "I have not seen a convincing reason why a composer of music should benefit from a term of copyright which extends to the composer's life and 70 years beyond while the performer should only enjoy 50 years, often not even covering his lifetime. It is the performer who gives life to the composition and while most of us have no idea who wrote our favourite song - we can usually name the performer".

Needless to say, McCreevy's comments were welcomed by the record industry. The boss of the International Federation Of The Phonographic Industry, John Kennedy, said: "We applaud Commissioner McCreevy for the vision he has shown in keeping creativity right at the centre of the European economy".

The boss of UK recording royalty collecting society Fran Nevrkla said this: "Europe's artists have produced a wealth of glories for all of us to enjoy. By closing this copyright gap, the Commission recognises the unique contribution of tens of thousands of musicians and provides a boost for Europe's future creativity and international standing. We welcome this announcement".

EMI big cheese Guy Hands added: "We welcome today's proposals by Commissioner McCreevy. If implemented, these measures are excellent news for thousands of artists, many of whom rely on income from sound recordings for their long term financial security".

The chief of the Musicians Union, John Smith, said: "This is great news for thousands of musicians. We are grateful that the Commission quickly grasped the issues at stake and acted so decisively on behalf of British performers. We are also indebted to our friends and colleagues across the music industry for their ongoing support in achieving this most welcome of outcomes. This is a clear sign that the music community working together has a powerful voice".

Making the distinction between the two groups who could potentially benefit here - the corporations and the musicians - McCreevy has also advocated a 'use it or lose it' provision in European copyright law which would basically mean that, after the initial fifty years of copyright, performers could gain full control of their recordings if the record label who originally released them refused to make them available to consumers. One of the arguments for limiting copyright terms is that it brings into the public domain recordings that labels own but have not been actually selling. In the digital age, of course, the costs to a label to make recordings in their catalogues publicly available, in download form at least, are much lower, which is why the law may be more willing to force them to do so, with the threat of losing their copyright ownership if they do not (either by complete ownership falling to the performer, or by the song coming out of copyright).

Of course McCreevy's comments are just that, and any change in terms would take sometime to achieve both at a European level and then within the EU's member states. However, support for term extension at such a high level shows the battle to extend the term is definitely not over.


Now here's a warning to any US media entering into co-promotion deals with live music companies. American radio major Clear Channel may pay out $22 million in relation to that much previously reported 2003 fire at a Great White gig in Rhode Island where 100 people died.

As previously reported, 100 people were killed and double that injured when The Station nightclub in West Warwick burned down during the 2003 gig by the LA rock band. The fire was caused by pyrotechnics used during the gig, and there was much dispute between the owners of the venue and the band's management as to whether permission had been granted by the former to the latter to use the pyros in a venue that, it transpired, had very flammable sound proofing.

One of the lawsuits launched by lawyers for the victims of the fire was aimed at Clear Channel's WHJY-FM who had pre-promoted the concert by running ads, giving away tickets and providing a DJ to MC the night. The legal types argued that the radio station knew, or should have known, that the band regularly used pyrotechnics in the show, and that that would be dangerous at the venue hosting the event. They also argued their employee at the gig - ie the DJ who was MCing, one Mike Gonsalves, who was killed in the fire - could and should have delayed the start of the gig over safety concerns.

WHJY-FM in its defence has pointed out neither it nor its employee had any control over activities in The Station club that night, nor did they hire, pay or have any control over the band. Nevertheless, given the scale of the tragedy, the station's parent company is keen to resolve the action without a drawn out court case and as such has been busy negotiating an out of court settlement. The settlement now on the table will cost the radio major $22 million, and will take the monies so far won for victims of the fire to $70 million - it following settlements with others accused of liability in the fire - including the maker and seller of the sound proofing material that caught fire, the maker of the pyros, and a TV company whose camera man was accused of blocking a fire exit. Other lawsuits, including one against the band themselves, rumble on.

Confirming the out of court settlement, the radio firm said yesterday: "While Clear Channel had no role in causing or contributing to this fire, we are pleased to resolve these claims and, hopefully, contribute in some way to a sense of resolution for the affected victims and their families".

While Clear Channel were keen to stress that the pay out does not mean that they accept any liability for the fire, the settlement could still have an impact on other radio stations who enter into similar co-promotional relationships with smaller independent venues, who may now look for reassurances from promoters and venues that all safety issues have been addressed.


G-uniter Tony Yayo has been sentenced to ten days of community service in relation to that run in with the teenage son of the boss of Czar Entertainment, Jimmy Rosemond, last March.

In the end Yayo pleaded guilty to harassment, admitting that he had got out of his car and "glared" at James Rosemond Jr in a way that was "meant to threaten physical violence". He was originally accused of slapping the teen, whose father is something of a hip hop rival to the G-unit, mainly because he manages The Game, the former G-uniter who has long feuded with his former collaborators. But, as previously reported, when the case reached court last month prosecutors admitted that a Yayo associate, one Lowell Fletcher, had admitted it was him who hit Rosemond Junior, and that Yayo had actually pulled him away from the teen.

With that in mind Yayo was offered a plea deal which saw him only admit to a violation offence, which is less serious than a misdemeanour, hence the relative leniency of the sentence. Fletcher, meanwhile, has pleaded guilty to a misdemeanour count of endangering the welfare of a child for grabbing the teen and now faces a nine-month jail sentence.


Amy Winehouse's father Mitch has thanked The Sun for publishing that video of the singer showing her taking a variety of drugs, the exposure of which led to her recent admission to rehab.

Mr Winehouse, commenting on her recovery, said: "Thanks must go to The Sun for publishing the drugs video that helped turn my daughter's life around. Amy really wanted to get better herself this time - that was the most important factor in any recovery. But The Sun showing a film of Amy at her lowest gave her that extra kick she needed. The video turned out to be a blessing - as it led to my daughter going into rehab".

He added that Amy wants to follow her success at the Grammys with a proper appearance at the Brits on 20 Feb, saying: "the Grammys were Amy's first goal and her next is to go to the Brit Awards, where she wants to be well enough to appear in person".


An LA judge yesterday extended James Spears' role as conservator of daughter Britney's affairs until 10 Mar. Spears senior, of course, has been in charge of his daughter's affairs since she was sectioned last month, even though some of her existing advisors said that was against the popstress' wishes. According to reports on yesterday's hearing, Britney's brother Bryan was also granted co-custody of his sister's estate, he having acted as her manager back in the day.

Elsewhere in Britney news, her first husband - you know, Jason Alexander, he of the 55 hour Vegas marriage - has told the US's In Touch Weekly magazine that the singer no longer wants full custody of her children Sean Preston and Jayden James, and that she's happy for ex Kevin Federline to look after them. Britney and Federline's to date acrimonious custody battle is, of course, ongoing.

Alexander, who says he has been speaking to Britney regularly since Christmas, told the mag she missed her children, but added: "She wants to see them, but she doesn't want to be a full-time mom. She said it doesn't matter if she doesn't get them back full-time, and that she can always have other kids later on".

Finally for Britney news today, that previously reported talk of Spears embarking on a world tour is gaining momentum, with some saying the singer could announce a tour imminently, with her family reportedly thinking touring could take Spears' mind of her recent woes and aid her mental recovery. The New York Post quote a source thus: "Britney will be leaving the country in the next few weeks, after training in privacy for a month. She is planning a global tour".


That Feist lady has spoken to the BBC about the affect of her song '1234' appearing on the iPod Nano adverts. She says: "I felt a definite shift [after the advert came out], it seemed to pique a lot of curiosity which luckily led back to an album and video I believe in. It just shows you the power of that kind of thing, as opposed to some preconceived marketing ploy. I was a little naive as to the impact it would have because I really didn't have any idea it would be like that. But it did me nothing but favours because I've continued doing what I do, but with so many new open ears from so many more people than there were before".

She admitted that she did worry that the ad would mean people would get passionate about just one of her songs, but says that her newly found fans seem to be interested in everything. She continued: "I thought, in a way it's my worst nightmare to have people at the concert twiddling their thumbs waiting for the one song they recognise. But any of those fears were quickly assuaged when I realised that would only happen if I stopped dead in my tracks and didn't do other things in my life".

So, see, music in ads can be good on several layers. If you're interested in such things, look out for a chance to win a free guide to so called sync rights in next week's CMU Daily. More details in Monday's bit at the top.


Further to that report that Yoko Ono was suing that musician called Lennon Murphy for performing under the name Lennon, Ono's people have released a statement refuting the allegation. As you'll remember, Ms Murphy claimed that she had consulted Ono when she began performing under her given name, and the former Mrs Lennon had made no objections, but that suddenly, eight years later, had served her with a lawsuit accusing her of causing confusion in the marketplace and suchlike.

However, the Ono camp say that this is not the case. The statement agrees that Ono made no objection to Murphy's pursuing a musical career using the name (presumably because it's legally Murphy's name). What seems to be the problem is not the fact that Murphy is using the name Lennon, but that she applied to the US trademarks office for the exclusive right to use the name. According to the statement, Ono's attorneys asked Murphy to withdraw her registration of exclusivity, and even offered to cover the costs Murphy had incurred in filing for the trademark, but that Murphy went ahead and registered.

The statement says: "Yoko did not sue Lennon Murphy, but sought to stop her from getting the exclusive right to the name Lennon for performance purposes. For that, Yoko's attorneys simply notified the Trademark office that Yoko did not believe it was fair that Ms Murphy be granted the exclusive right to the 'Lennon' trademark in relation to musical and entertainment services. As you can see, this is a very important issue for Yoko and the Lennon family".

Yoko adds: "I am really hurt if people thought that I told a young artist to not use her own name in her performances and had sought to sue her. I did no such thing. I hope this allegation will be cleared".


A jewellery collection inspired by late Queen frontman Freddie Mercury has been launched. Created by top designer Udi Behr and entitled 'Made In Heaven: The Freddie Mercury Collection' it includes a variety of pendants and rings, plus some, er, leather cuffs. Each piece uses the word 'love', and it's quite 'dear', with some items costing as much as £10k.


A three bedroom flat in Mayfair once occupied by The Beatles is up for sale. The top floor property in Green Street was rented by Brian Epstein in the autumn of 1963 to give the band a bit of privacy from all of those screaming fans. The group only stayed a few months, but it's the only house where all four Beatles lived together. An early publicity shot of the band was taken at the top of the communal stairwell, and used as the cover of that year's edition of The Beatles Book.

The flat has now been refurbished as a two bedroom property, and is being marketed by Sotheby's at a price of £1.75million. Well, it is in Mayfair. Estate agent Peter Bevan: "The owner is aware of its history, but hasn't turned it into a Beatles shrine or anything like that".


Beyonce's dad Matthew Knowles has said it's ridiculous of Aretha Franklin to assume that when his daughter introduced Tina Turner as the "Queen Of Soul" at the Grammys last week that someone intended it as a deliberate slight. As you'll remember, because we reported on it, Franklin said: "I am not sure of whose toes I may have stepped on or whose ego I may have bruised between the Grammy writers and Beyonce. However, I dismissed it as a cheap shot for controversy".

Anyway, apparently what Beyonce said was just "queen" not "queen of soul". Well, that's what her dad says, and as I didn't see the Grammy performance, I can't really comment. Here's what Knowles senior said in an interview with "I am not taking something this ridiculous to Beyonce. Beyonce referred to Tina Turner as a 'queen'. Not queen of gospel, queen of soul, queen of blues, Queen of England. I consider my wife a queen and sometimes call her that. Does Aretha have a problem with that?"


Frank Black, or Black Francis as he's going by again these days, has announced the release of a new single, 'The Seus', out 31 Mar, and taken from forthcoming new album 'Svn Fngrs' which is out 3 Mar. It will feature remixes by Infadels and Bloc Party, and be available as a CD as well as two different digital bundles.


As you'll know, Guillemots have a new album coming out on 24 Mar. You may even have read a review of it in CMU yesterday. You possibly also know that lead single 'Get Over It' will be out on 17 Mar. You may or may not know that you can download the band's 'Kriss Kross' free, for a limited period, here: And finally, if you're a Guillemots fan, you might want to know that the first instalment of the band's new podcast series is available free on iTunes now, look here: MZStore.woa/wa/viewPodcast?id=274013283


Massive Attack have been confirmed as curators for this year's Meltdown Festival in London, which I'm finding it a little bit hard to get excited about, possibly because I was secretly hoping the Southbank Centre bosses would hand their annual eclectic music fest to the Mighty Boosh this year - how cool would that have been? In a statement the Attackers said this: "We want this year's festival to have a strong political and visual element to it to reflect our influences and obsessions. Our aim is to mix it up a bit by instigating collaborations that make sense and probably some that don't".


According to, Geri Halliwell says that there'll never be another Spice Girls reunion once the current Return Of The Spice Girls tour ends later this month. "It probably won't happen ever again," she's quoted as saying "I'm still absolutely blown away that we did more than one show. So right now I'm thinking this is it. This is the last time you will ever get to see this Girl Power, the five Spices on the stage as one".

Don't all cheer yet, though, because she adds this: "What this reunion taught me is you can never say never. If you had asked me 10 years ago whether there'd ever be a Spice Girls reunion concert, I'd have gone, 'no fucking way!'"

She went on to say that this tour has been a great experience, and refuted allegations of fighting in the Spice Camp. She also added that in May the first of her children's book series featuring the character Ugenia Lavender will be out. Calling the work "a rebirth of girl power" she says: "I love writing. It's my passion. It's something I feel was very complementary to my life as a mother, to become a writer".


Status Quo, Jools Holland with Marc Almond, Deep Purple and UB40 are all set to appear at the British International Motor Show in July at ExCel in London. And that's it really.


EMI Music Publishing has signed up Sam Sparro who is, I'm told, an aspiring dance and funk act. Aussie Sparro's first album is due out on the Universal later this year. Here's what EMI Publishing MD Guy Moot said: "This is a deal that everybody wanted to secure, and I'm delighted that Sam and [his songwriting partner] Jesse [Roog] have made the decision to sign with us. Their songs are completely infectious and have huge potential, and we're looking forward to working with them for a long time to come".


The company behind music based social networking thingimy Imeem is reportedly about to buy Snocap, the digital music firm set up by original Napster founder Shawn Fanning after the original P2P company's collapse, and which had hoped to spearhead the move into legitimate licenced P2P networks. Snocap makes so called fingerprinting technology which enables the monitoring of music files as they move round the net, which is used by Imeem, but with the legit P2P business model still to take off the potential of that technology has been hindered leading to Snocap to dabble in other areas of digital music, and to more recently downsize. The company's owners let it be known they would consider takeover offers, and according to TechCrunch a deal with Imeem should be completed in the next few days. Snocap's other big venture is providing the back-end to MySpace's download service. Given Imeem are competitors of MySpace it is unclear what their acquisition of Snocap would mean to that deal.


So, the latest ABC figures - the official print media circulation count - were published yesterday, which always makes me nervous because with the editorial teams of most of these titles reading CMU, whatever way I interpret these stats I'll probably get a complaint from someone.

Though I'm not sure how I can interpret the latest readership figures for the music mags anything but negatively - 2007 wasn't a great year for print media of the music kind. IPC's NME had an average weekly sale of 64,033 in the latter half of 2007, 6% down on the first half of the year, 12% down year on year. Its main weekly rival Kerrang!, now owned by Bauer, was down 8% on the previous six months and 9.9% year-on-year, although it is still ahead of the NME on 76,937.

The NME magazine, of course, is now just one part of a wider media brand, though IPC say they still consider it to be at the core of that brand and that, while not seemingly too panicked by the circulation fall, admit they will be looking to revamp the title a little later this year. IPC Ignite Publishing Director Paul Cheal told reporters: "NME magazine sits at the heart of the brand and we are constantly sense checking what readers want and looking to evolve the magazine's content and design. With this in mind our editorial team are currently engaged in exciting development work which will come to market later this year".

Kerrang! too is a multimedia brand, of course, and Bauer Consumer Media Deputy MD Stuart Williams dwelled on that when asked about the rock title's readership fall: "Kerrang! [and our other music and film titles] continue to develop in print, online, on TV, on radio and for podcast to considerable commercial and critical success, because they all provide their audiences with the opportunity to experience their favourite entertainment brands when and where they want in the format they prefer".

Also seeing readership fall this time was Bauer's Mojo, down 7% year on year; Future's Metal Hammer down 6.5% year on year; Development Hell's The Word and Mixmag, down 1.1% and 8.2% respectively; and freebie The Fly was down 5.2% year on year, though up 8.9% on the first half of 2007. IPC's Uncut was up 6% on the first half of 2007, though down 2.8% year on year, while the big guy of UK music media, Q, was up 0.9% on the first half of last year, but down 6.4% year on year.

If you want some good news, you should concentrate on Future's Classic Rock where, while sales for the second half of 2007 were pretty much as the first half, year on year circulation was up 7.5%. Its Editorial Director, Jim Douglas, told the Guardian: "Classic Rock knows its audience and stepped out of the denim timewarp years ago. The magazine has a vibrant and contemporary feel, and continuously finds new ways to tell the stories of rock's legendary albums, misadventures and of on the road exuberance. We also continue to build the brand beyond a monthly title, allowing us to get closer to the readers".


More media stats, and the gossipers are claiming BBC bosses are disappointed with the ratings achieved by Lily Allen's new TV show, which launched this week, though 255,000 viewers doesn't sound too bad for a digital only channel show - 'Lily And Friends' is on BBC 3. A BBC spokesman called that a "solid start", but some are saying the programme is unlikely to get a second series if things don't pick up.


According to reports, Liam Gallagher and Nicole Appleton have married at a private ceremony in London. The pair have been together eight years and have a seven year old son Gene. Not much else to say, except that it seems Holy Moly was the source of the rumour, saying that they were celebrating last night at the Landmark Hotel.


Nelly Furtado has denied that she is pregnant for a second time. The singer, who has a four year old daughter, was the subject of recent reports claiming she was knocked up for a first time by fiancé Demacio Castellon, but a spokesperson says, "she is not pregnant". So that's that.


Kylie Minogue's stylist has said that the singer is going to tone down her sexy image now that she's getting on a bit. Only kidding, she's 40 in May. And you know, life begins at 40.

Anyway, this stylist, William Baker, says Minogue will be working with Jean Paul Gaultier on a new, mature look: "The next tour will see Kylie ageing gracefully. She's celebrating her 40th birthday this year so what we have planned is to move in the right direction. We're working with Jean Paul Gaultier on the costumes - he designed Madonna's Blonde Ambition tour. The outfits he designs are incredibly sophisticated. It's difficult in pop to remain young so what's the point?"


Marilyn Manson's previously reported brand of Absinthe, 'Mansinthe', hasn't gone down well with a panel of critics at They say it smells like sewage, swamp mud and rubbing alcohol. One taster says: "If a smell could speak, this absinthe is saying: 'Do not touch'".

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