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Top Stories
Lucian Grainge to become CEO of Universal Music Group
Warner, profits turn to losses, but everyone still upbeat
Bronfman on digital, Apple, Spotify and EMI
White Stripes upset with US Air Force
In The Pop Courts
Lil Wayne sentencing postponed
Perez and Peas manager settle over Much Music thumping
Awards & Contests
Dame Kiri to be honoured at Classical BRITs
Release News
MacGowan Haiti single release date announced
Gigs & Tours News
Soap&Skin announces first ensemble show
Big Pink announce UK tour
Festival News
Glastonbury votes yes to flags
Album review: Various Artists - Cold Waves And Minimal Electronics Vol 1 (Angular)
The Music Business
Brainfeeder partner with Ninja Tune
Aussie collecting society told to consider anti-monopoly measures
The Digital Business
Google reveal new social networking flim flam
Real's Rhapsody to become its own company
The Media Business
MTV lose 'music television' tag
Rivmixx launch new blogs
Guardian sell regional papers
Chart Of The Day
This week's Sub.tv playlist
And finally...
Barrymore claims to be Jedwards' father

Although best known as one half of The Electric Soft Parade and one quarter of Brakes, Thomas White has also recorded with Brighton contemporaries Restlesslist and The Pipettes. Drawing influence from the likes of Broadcast, Saint Etienne and Joni Mitchell, White released his debut solo album 'I Dream Of Black' in 2008; a home crafted dreamscape of whirring synths, pysch-guitar and instantly recognizable vocals. The follow-up, 'The Maximalist', will be released on 15 Mar via Cooking Vinyl, and White is due to play at the Slaughtered Lamb in London on 11 Feb and The Albert in Brighton on 12 Feb to promote it. We spoke to Thomas to ask the Same Six.

Q1 How did you start out making music?
I started making music much like most people do, I guess; cobbling ideas together with friends in rehearsal rooms and community centres. Anywhere that would let us make a racket, basically. A major factor was that my parents unflinchingly supported the direction me and my brothers (very early on) decided to take. They saw a passion for this thing emerging, and made a decision to support that. Without that sort of support, I think a lot of young bands would never come to be.

Q2 What inspired your latest album?
Many things inspired the new record. Something that has always been there, but on this album has come to the fore, is my hometown of Brighton. It may sound obvious, but this time it has had a profound influence, both musically and lyrically.

Q3 What process do you go through in creating a track?
Generally I'll start off with a skeletal idea, which I'll take as far as I can on one instrument, perhaps vocals too. Then I'll go to some kind of recording console - four-track/eight-track/laptop - where I'll sketch out the arrangement, quite often improvising whole passages to fill up any gaps. I then overdub, thus turning these improvised sections into seemingly deliberate 'bridges', 'middle eights' or 'choruses'.

Q4 Which artists influence your work?
Musically, the work of Broadcast, Saint Etienne, Joni Mitchell and The Dandy Warhols has informed what I do massively in recent years. Likewise, Mission Of Burma continue to influence me in a big way, though I think their work is all about the detail, and therefore it's a lot harder to spot in what I do.

Q5 What would you say to someone experiencing your music for the first time?
I make and mix my records to be listened to on headphones. You're right - it should be an experience. Sit back, close your eyes, and let it all unfold.

Q6 What are your ambitions for your latest album, and for the future?
I feel stupid talking about ambitions for something as insignificant as a record, but I guess it'd be lovely if a bunch of people got into this record, and I was afforded the opportunity to grow and better myself as a solo artist and a musician in general. As for the future, I want to establish myself as someone associated with making consistently interesting records that push the boundaries of what we call pop music. The way the industry's going, to still be making records five years from now will be seen as a major achievement for most musicians.

MORE>> www.myspace.com/thethomaswhite

Oxford-based electronic musician Mr Fogg drew attention to himself last December when he opened a shop in Soho, where he sold a range of his own merchandise and records, as well as performing live regularly throughout the day and night over the course of four days. Prior to that, he released a number of singles in the UK, before running away to Scandinavia, where he was picked up by Icelandic label Kimi Records, who stuck him in a studio to record his debut album 'Moving Parts' with Björk producer Valgeir Sigurðsson.

Since returning to the UK, he's raised money to release that music over here using fan-funding site Bandstocks, with the first fruits of all that arriving in stores this week, in the shape of his aggressively fragile new single 'Keep Your Teeth Sharp', which you can hear dubbed over footage of the aforementioned Fogg Shop at the YouTube link below. The full album is now due for UK release in April, after the release of the title track as the next single.


UnLimited Creative is the creative services agency owned by CMU publishers UnLimited Media. We work with music and media companies, consumer brands, and other marketing and PR agencies, providing these services:

Marketing & PR: We devise and run marketing and PR campaigns, specialising in the youth and student markets, music and cultural products and marketing partnerships.

Content: We provide entertainment content to brands and media. We develop content strands. We produce original content. We manage content delivery.

Design & Print: We provide design, print and contract publishing services. We create brand identities. We design and produce websites. We produce & print marketing materials and corporate media.

Media & PR Training: We provide PR, media and music business training. We offer a menu of seminars. We develop bespoke courses. We develop out-reach training as part of CSR programmes.

To read about past projects click here. To discuss how we can help your company or project, email chris@unlimitedmedia.co.uk
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Olivier Awards nominees announced
BBC2 commissions Boy George film
Serkis takes best actor gong at Evening Standard Film Awards
Implications of digital switchover on student radio
Jolie/Pitt sue NOTW
BBC respond to 6music closure rumours
Southbank Centre launches Latin festival
Merton criticises film festival for allegedly dropping him
Zellweger to judge at Berlin Film Festival

This has been long expected, but is pretty big news nonetheless. London-based Universal Music International chief Lucian Grainge will become top dog of the whole Universal music company as of the start of next year, reporting direct to the boss of parent company Vivendi, Jean-Bernard Levy. Grainge will take over from long-time Universal Music chief, the aging but still prolific Doug Morris, whose pending retirement has been much discussed in recent years.

Confirming he'd step down to make way for Grainge, Morris said this morning: "The time has come for Lucian to step up to the CEO role. I am very happy with the new organisation as I have been grooming him to succeed me for quite a while now. I know he is ready, willing and able to attack the challenges of the new decade".

According to Billboard, the aforementioned Levy added: "I am delighted that Lucian Grainge has agreed to move to New York to take on the Chief Executive role. His track record speaks for itself, finding stars, growing revenues and building new business models. He has the right combination of experience and innovation to take UMG forward as the migration into the digital era accelerates. I would also like to take this opportunity to thank Doug Morris for the extraordinary results he has achieved over the years in a very tough environment".

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Within the UK record business, I suspect Warner Music is performing better than most, certainly the music major's London office has been making some interesting developments in the so called '360 degree' domain. Not so much by expensively launching or buying live, management, merchandising, digital or brand partnership ventures, but by quietly working with artist managers to negotiate the sort of career-wide business partnerships with new bands that are probably the future of the music industry, and the way music companies will increasingly work with the artists in which they invest.

In America, however, there are more critics of the Warner music company, possibly because, with it directly trading on the New York stock exchange, there is more scrutiny of its finances there. Plus, efforts to do the 360 degree thing at Warner US have generally involved setting up new divisions outside recordings and music publishing, and buying into digital start-ups, none of which has gone especially well, resulting in millions being written off. That said, despite Warner yesterday announcing it made a $17 million loss in the first quarter of its current financial year, compared to a $23 million profit the previous year, Wall Street types seemed quite upbeat about the company, having expected a bleaker financial report for the quarter up to 31 Dec 2009.

And it should be noted that despite the losses, revenues were up across the board, with digital sales continuing to grow and now accounting for 20% of Warner's overall revenues. Warner themselves noted that their UK division was doing especially well, and that actually it was the major's US operations that had let the side down a little.

It's also worth noting that the $23 million profit a year earlier was in no small part helped by a final payment stemming from Warner's sale of its stake in artist management company Frontline to Ticketmaster (what is soon to become the new artist management division of Live Nation Entertainment, of course). That particular effort by Warner to diversify its interests in other strands of the music industry was short lived but delivered a good return on investment.

Despite the overall loss, comments by Standard & Poor analyst Tuna N Amboi (who possibly sounds more like he should be signed to the record company, than providing insightful analysis of its finances) were typical of the thoughts of most US investment types, when he said: "These numbers are encouraging relative to the industry-wide numbers. There's no getting away from the challenging environment for CD sales".

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Probably more interesting than the actual figures released by Warner Music yesterday was the commentary that came with them from the major's big cheese Edgar Bronfman Jr, who had some interesting things to day about digital and the one thing everyone wanted him to talk about, the possibility of an EMI merger.

On digital, he observed that growth of the digital music market had started to slow, and added that that might be due, in part at least, to the introduction of variable pricing on iTunes just under a year ago, a move which, he acknowledged, basically amounted to a price increase of up to thirty cents a track in the US (20p a track here).

While admitting that it was the labels who pushed for variable pricing on the market leading download store - Apple having resisted moving away from its one-price-fits-all system for years - he said that, with hindsight, to allow the thirty-cent per track leap to occur while the world was in such economic gloom was a mistake, even though the price increase only affected a small part of the overall catalogue on the Apple platform.

But he said he was optimistic that the digital market still had much growing to do, adding that - pleasingly for the likes of Bronfman, who have never liked Apple's dominance of the digital music market - a bunch of new companies would start to eat away at iTunes' market share, in particular new subscription and mobile phone-based services. Bronfman: "There are a lot of people who see the extraordinary value that Apple has created, [and] you're going to see a lot of people try to emulate that value. The subscription models that we are promoting will create much more value over time than the per-play or per-purchase models. [And] the number of potential subscribers dwarves the number of people purchasing music on iTunes".

That said, Bronfman aired some caution about aspects of one of the biggest new subscription services in Europe, good old Spotify. Despite providing content to the streaming music service over here, Bronfman didn't seem too keen about the free ad-funded Spotify service going live in the states. As previously reported, some US record label execs are concerned that if free Spotify launches over there it will hit the pay-to-use subscription-based unlimited music services, which have always enjoyed more success Stateside than over here. Some - and Bronfman indicated he's of this opinion - would prefer Spotify to enter the US market without the free option, or at least to make the free-to-use streaming bit much less user-friendly.

On EMI, well, it's no secret Bronfman has long wished for the London-based major to fall under his control, and he was busy trying to stage a takeover back in 2007 before Terra Firma staged their bold acquisition. If, as some now see as inevitable, Terra Firma lose control of EMI to their financial backers Citigroup, it's thought Bronfman will be the first call the bankers will make.

Actually, for Warner to acquire EMI now should be a much simpler process than in 2007. Then it would have been a merger, with numerous EMI execs eager to stay on board and keep control, no doubt arguing that it was they who had the key personal relationships with the big selling artists. They would have been right to say that, but Terra Firma sacked them all anyway, making a Warner takeover of EMI now much less tricky, with only a few redundancy cheques needing to be written to ensure Bronfman has supreme control over all corners of the EMI empire. Terra Firma have also already done the bulk of the jobs cull that would have been required had EMI and Warner combined their operations in 2007.

Of course, the other tricky issue back then was the doubt that existed that European regulators would approve an EMI Warner deal, given the controversy that had surrounded them approving the Sony BMG merger in 2004. Bronfman had already struck an albeit controversial deal with key independent labels before Terra Firma beat him in acquiring EMI, which would have seen the most vocal opponents to SonyBMG giving EMI Warner their support, in return for never revealed concessions to the indie sector and its digital rights agency Merlin.

But, just three years on, many doubt even that support would be required to get regulator approval. The continued decline in record sales would mean regulators would be more likely to view the impact of an EMI Warner in the context of the wider music sector, rather than just worrying that four major record companies were becoming three, as they would have in 2007. This makes the unstoppable growth of the newly combined LiveMaster, the increasing power of the Apples and Spotifys of this world in the music space, and, in the UK, the rise of the combined HMV/MAMA, all relevant. There's a strong argument a combined EMI Warner would make no real difference competition wise to the wider music business.

Certainly that's what Bronfman thinks, and the possibility of him acquiring EMI is clearly on his mind at the moment. According to the New York Post, he said in his finance call yesterday: "We feel consolidation certainly is possible. Should it come to EMI's lenders having the opportunity to rescue value, they're going to try and rescue as much value as possible".

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The White Stripes have expressed "strong insult and objection" to the US Air Force's use of a re-recorded version of their song 'Fell In Love With A Girl' in an advert for Air Force Reserve recruitment aired during the Superbowl on Sunday.

In a statement, the duo said: "We believe our song was re-recorded and used without permission of The White Stripes, our publishers, label or management. The White Stripes take strong insult and objection to the Air Force Reserves presenting this advert with the implication that we licensed one of our songs to encourage recruitment during a war that we do not support".

They continued: "The White Stripes support this nation's military, at home and during times when our country needs and depends on them. We simply don't want to be a cog in the wheel of the current conflict, and hope for a safe and speedy return home for our troops".

The Air Force has not yet made any comment on the matter.

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Having finally got round to releasing his new album 'Rebirth', hip hop type Lil Wayne was due to be sentenced for his much previously reported criminal weapon possession crimes yesterday, and could well have been in the slammer right now, but for some toothache.

Ahead of the rapper's planned sentencing yesterday, his legal people said their client needed some urgent "oral surgery" and was hoping to fly to Miami to see an oral surgeon, aka his dentist. With the prosecution not seeming to have a problem with the delay this dental work would cause, the judge hearing the case suggested everyone regroup on 2 Mar, and that they could throw the rap man in jail then instead.

Wayne is due to serve up to a year in jail for possessing an illegal gun, but could get a few months cut off that for good behaviour and, possibly, possessing perfect teeth.

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Black Eyed Peas manager Liborio Molina has reportedly reached an out of court settlement with Perez Hilton relating to the blog man's alleged beating at the hands of the Peas posse, and Molina in particular, after last year's Much Music Awards in Canada.

As previously reported, criminal charges against Molina were dropped last November after the manager wrote a formal apology to the online gossip monkey, but civil proceedings continued. However, an out of court settlement was reached this week, putting the whole incident to bed. Terms of the deal are not known.

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Already bored by this year's BRIT Awards even though they haven't happened yet? Still confused as to why no media have commented on just how ludicrous it is to have Prince Harry bigging up the awards bash via the wonders of video - I mean, who gives a toss what he thinks? Still trying to decide whether giving Robbie an Outstanding Contribution gong is more insulting than the same prize going to the Spice Girls in 2000? Well, just stop it, OK, it really isn't worth even thinking about.

No, let's sit back and think about the much more cultured world of the Classical BRIT Awards instead, shall we? They're giving their lifetime achievement prize to Dame Kiri Te Kanawa. I mean, that's a classy prize for a classy lady, and we don't need any prince to confirm it for it to be so. Though if the BRITs chiefs could arrange for Prince to give Kiri her prize, well, I'd tune in to watch that.

Confirming that the Dame would be gracing the classical BRITs stage this year, the co-chairman of the Classical BRIT Committee, Decca Records' Mark Williamson and Avie Records' Barry McCann, told CMU: "We are thrilled that Dame Kiri has accepted our invitation to receive the prestigious Lifetime Achievement Award in our eleventh anniversary year. It is a fitting tribute to one of the greatest sopranos of our times who has befriended British audiences and helped to nurture new signing talent for so many years".

The Classical BRITs will take place on 13 May at the Royal Albert Hall, and will be hosted by Princess Mylene Klass. So, like I say, a classy evening all round. (Though the press release does say "multi-talented musician, broadcaster and TV presenter Mylene Klass", so it's possible they mean a totally different Mylene Klass to the one I'm thinking of).

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The previously reported Shane MacGowan-organised charity cover of Screamin' Jay Hawkins' 'I Put A Spell On You' will be released on 1 Mar via IRL Records, it has been announced.

The single, proceeds from which will be donated to Dublin-based charity Concern Worldwide for its operations in Haiti, features Nick Cave, Bobby Gillespie, Glen Matlock, Mick Jones (who also produced the track), Chrissie Hynde, Paloma Faith, Eliza Doolittle and Cait O'Riordon, as well as MacGowan himself.

In other Haiti charity single news, the Simon Cowell-curated cover of REM's 'Everybody Hurts' has become the fastest-selling charity single of the century. I know it's for a good cause, but you are still allowed to groan loudly upon reading this news.

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Having previously only performed solo, Soap&Skin, aka Anja Plaschg, will play her first show with a band in London later this year. Well, with a chamber music ensemble actually. The group will performed reworked versions of songs from Plaschg's excellent debut album, 'Lovetune For Vacuum', at Union Chapel on 23 Apr. Tickets go on sale on Friday.

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Currently on the NME Awards Tour, along with The Maccabees, Bombay Bicycle and The Drums, The Big Pink have announced their biggest UK headline tour to date, which will make its way around the country in May. Tickets go on sale on Friday.

The band re-release their single 'Velvet' on Monday on download and 12" vinyl. B-sides come in the form of a new version of the title track, plus a cover of Otis Redding's 'These Arms Of Mine'.

Tour dates:

7 May: Oxford, Academy
8 May: Sheffield, Leadmill
9 May: Glasgow, ABC
11 May: Manchester, Academy 2
12 May: Birmingham, Academy 2
13 May: London, Forum

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Glastonbury fans have voted no to a proposed flag ban in a poll on the festival's website.

As previously reported, the matter of flags is a contentious one, as the people who take them to festivals all then tend to put them on big sticks and then stand right in front of the main stages so that no one else can see anything. Despite this, the result came in at 55% in favour of keeping flags at Glastonbury, and 45% against, with votes cast from 71 different countries.

In other Glastonbury news, an eBay auction organised by the festival's Emily Eavis has raised £120,000 in aid of Oxfam's Haiti campaign in just two weeks. Says Emily: "I'd like to thank everyone involved. Everyone's been so generous, it's fantastic to see how much people care. When we first had the idea of an auction for Haiti I never imagined we would raise so much. This should really help to rebuild some of what was lost".

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ALBUM REVIEW: Various Artists - Cold Waves And Minimal Electronics Vol 1 (Angular)
It's telling how high the fever for all things early 80s has reached when even Ministry Of Sound release a new wavey synth-pop 'dance' compilation. As respectable as the tracklist of their 'Electronic 80s' album is, if you want something a bit more interesting and less likely to be filled with songs you know and have heard and loved a million times already, then this is it.

Comprising mainly cult European music from the period 81-85 (ie the best part of the decade, before Live Aid ruined everything), 'CWAME' is not just an alternate look at how cheap synths and the (post-) punk ethic made that period such a thrilling era for music, but also a lesson in how a load of French, German, Belgian and Italian acts made their own electronic pop history, creating the sub-genres of Italo-disco and EBM in the process.

With seventeen different artists appearing you could expect the quality control to vary, but there's no duff tracks (only the shrill 'Babylon' by The Vyllies grates a little) and a lot of very good ones indeed. Angular's Joe Daniel and Pieter Schoolwerth have done an exemplary job in curating this selection (especially given so many of the tracks are rare and were previously thought lost), making it simply essential listening for anyone with a love of electronic pop. MS

Physical release: 8 Mar
Press contact: Bang On [O]

Buy from iTunes
Buy from Amazon

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LA-based producer Flying Lotus, aka Steven Ellison, has been talking about his record label The Brainfeeder, following the news that the US indie has struck up a partnership with Ninja Tune, who will now handle manufacturing, marketing and distribution for Ellison's company everywhere outside the US.

The deal with London-based Ninja is a big step up for The Brainfeeder, which began as a way for Ellison to capture and champion LA's underground beat scene. He told CMU: "When I first started out, I was lucky enough to have great people take me under their wing and point me in the right direction. I'll never forget it, and I try to do my best to do the same for people I believe in. I know that what my peers and I are doing is really important, and I feel the music we've created is something that speaks to a new generation, so it's our responsibility to nurture and guide this movement we started".

With a roster incorporating buzz names such as Lorn, Samiyam and The Gaslamp Killer, and with the next release for the label being a mini-album from Daedelus - who continues to work directly with Ninja Tune as well - Ellison's movement is taking shape.

Commenting on the Daedelus release, Ellison said: "Daedelus was one of the first people I met in the LA scene, he hardly knew me or my sound at all and invited me into his home and shared stories and music with me when I was trying to find my way out here. He's been such a great and inspiring friend ever since. I feel like with this album we're close to coming full circle".

New Brainfeeder albums from Lorn, Samiyam and The Gaslamp Killer are also planned. Meanwhile, in case you wondered, Daedelus is set to release his next full album for Ninja Tune, 'Bespoke', in late 2010 or early 2011.

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Oh, that old chestnut. How do you overcome the problem that having just one collecting society for each set of music rights in any one territory throws up all sorts of monopoly and competition concerns, without ignoring the fact that such a situation is a damn sight easier for everyone (songwriters and music users) than having to deal with multiple societies, ie like you do in America where ASCAP, BMI and SESAC all compete in the publishing rights domain?

As much previously reported, this is something the European Commission has been stressing about a lot in recent years, the result being European legislators ordering the collecting societies of different European countries to start competing with each other, partly by offering pan-European licences wherever possible.

As we also previously reported - following a recent MIDEM debate on this issue - such moves by EU officials, collecting societies and some music publishers have arguably created a situation whereby the licensing of songs on a pan-European basis is getting more rather than less confusing. Some would also argue that the bigger European collecting societies are getting more powerful, to the detriment of the smaller ones, arguably making the music rights market place less competitive.

Anyway, I digress. This is a rather long-winded way of telling you that the Australian equivalent of our Competition Commission has called on Australia's publishing rights collecting society - the Australasian Performing Rights Association - to introduce a raft of changes to ensure the music rights market down under is more competitive. In particular, they want to make it easier for rights owners and licensees to deal directly with each other should they wish to, even in areas where there is traditionally an obligation for those wishing to licence music to deal with the collecting society rather than the rights holders direct.

Despite recognising the valuable role APRA plays in the Aussie songwriting community, the chairman of the Australian Competition & Consumer Commission, Graeme Samuel, told reporters: "APRA is a monopoly - with the power to price accordingly - and has rules that appear to unreasonably restrict direct dealing between composers and music users. Where competition can be injected into the acquisition and supply of performing rights in a way that does not jeopardise the other benefits or efficiencies APRA's arrangements produce, then this should be encouraged".

APRA has until 1 Mar to comment on the ACCC's report on their operations, with other interested parties also invited to offer their opinions on the issue. So that's fun.

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For those of you still getting over the excitement of last year's launch of instant-messaging party app Google Wave (I met someone the other day who'd worked out how to use it), brace yourself for the latest innovation from the never evil search types.

Google Buzz was revealed yesterday, and is the web major's latest attempt to get into the social networking space, this time by transforming the Gmail email platform into a message, status, photo, video and link sharing bonanza on a level never before seen, well, not seen since you last closed Facebook anyway.

There was a mixed reception to the new service among tech journalists and the blogosphere, with some pointing out that Google's last social networking product - Orkut - failed to take off in most countries, and some suggesting that the web giant would be better off trying to think of more innovative ways to move their company forward, rather than treading on Facebook and Twitter's toes.

It remains to be seen if this is one of Google's big hits or damp squids. Their dabbling in the telephony space in the US certainly remains more promising in terms of it having the potential to totally change the way we communicate. Even if Google bosses were yesterday trying to big up Buzz as being a fine demonstration of where the web firm is heading.

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Rhapsody, the US-based subscription-model digital music service co-owned by RealNetworks and MTV, will become its own concern, rather than an offshoot of Real. The move will also see Real reduce its stake in the company, which currently stands at 51%.

RealNetworks will pump $18 million into the new company, while MTV will commit to provide the service with $33 million in advertising air time, though will be allowed to cancel its existing ad-time agreement with the service. The original agreement stems from when MTV first became a partner in the digital business, the result of it closing down its own US-based digital music venture URGE and merging that service's staff and subscriber base into the Real outfit.

Real say that the restructuring of Rhapsody won't affect its label deals or 700,000 subscribers, and that the digital service will continue as normal.

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Talking of MTV, the music telly company is reworking its logo. Slightly. It's removing the words "music television" from underneath the iconic MTV motif. I think the original plan was to replace it with "tacky reality shows and other tedious shit television" but someone pointed out that wouldn't fit.

MTV's marketing head Tina Exarhos told the LA Times: "The people who watch it today, they don't refer to MTV as music television. They don't have the same emotional connection that, say, the people who are writing about [the change] do". Which surprises me. I wasn't aware that people still watched MTV.

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Music community Rivmixx has announced it will be carrying new blogs from a number of experienced music types, with Ty writing about hip hop, Kutski about dance music and old CMU favourite John Robb doing rock. Four music industry types will also be contributing their thoughts.

Rivmixx boss Danny Mac told CMU: "In January we introduced genre feeds and now only a short four weeks later we're thrilled to have a bunch of talented music stars blogging on the site. Personally, I can't wait to hear what's on their playlists; their experiences at the top of the music world; and what they think's worth sharing with our growing community of Rivmixx readers".

Robb added: "Calling all international stations, my radar is buzzing, I'm in pop culture overload and need space to communicate all this action. My blogs will be anything that fire me up from music to the energy, the sex style and subversion of the counter culture. They will celebrate the great and destroy the vile; they will be short, sharp shocks of the now".

Rivmixx is at www.rivmixx.com, obviously.

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The Guardian Media Group has sold most of its regional media division to Trinity Mirror, which ends the newspaper firm's long-held Manchester connection, with the Manchester Evening News and a string of other North West based local titles part of the deal.

So called MEN Media will become a division within Trinity Mirror, while the Guardian's South-England newspapers will be absorbed by the new owner's existing operations in that area. GMG's papers in Woking and Manchester TV station Channel M are not part of the deal, and it is unclear what will happen to them now that the Guardian's regional media division will all but cease to exist.

The Guardian was once the Manchester Guardian, of course, but has been a primarily London-based newspaper since the 1960s.

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Hey look, people, it's the music videos that are playing this week on the Subtv network of video screens in students' unions around the UK. New additions marked with a *. More info on all things Subtv from DavidLloyd@sub.tv.

A List
Alicia Keys - Empire State of Mind (Part II) Broken Down*
Alphabeat - Hole In My Heart
The Big Pink - Velvet
Calvin Harris - You Used To Hold Me
DJ Zinc - Wile Out (feat Ms Dynamite)
Ellie Goulding - Starry Eyed
Erik Hassle - Hurtful
Jay Sean feat Sean Paul & Lil Jon - Do You Remember
Kasabian - Vlad The Impaler (Live)
Marina and the Diamonds - Hollywood
Muse - Resistance
Owl City - Fireflies
Sade - Soldier Of Love
Timbaland feat Katy Perry - If We Ever Meet Again*
You Me At Six - Underdog
The xx - VCR

B List
Cheryl Cole - Parachute*
Chiddy Bang - Opposite of Adults*
Cobra Starship - Hot Mess
Daisy Dares You feat Chipmunk - Number One Enemy
Field Music - Them That Do Nothing
Florence & The Machine - Dog Days Are Over
Jason Derulo - In My Head
Jedward feat Vanilla Ice - Under Pressure (Ice Ice Baby)*
JLS - One Shot
Kid Cudi feat. MGMT & Ratatat - Pursuit Of Happiness
Mika - Blame It On The Girls
Mumford And Sons - The Cave*
OK Go - This Too Shall Pass (Live)
Steve Aoki feat Zuper Blahq - I'm In The House
Sugababes - Wear My Kiss
Tinie Tempah - Pass Out
Yeah Yeah Yeahs - Skeletons*

Tip List
Blood Red Shoes - Light It Up
Broken Bells - The High Road
Dan le Sac vs Scroobius Pip - Get Better*
Delphic - Halcyon*
The Drums - I Felt Stupid
Gabriella Cilmi - On A Mission
Girls - Morning Light
Gucci Mane feat Usher - Spotlight
Groove Armada - Paper Romance
The Kissaway Trail - SDP*
McLean - My Name

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Michael Barrymore apparently claimed to be the real father of the Jedward twins in a typically bizarre interview on Irish TV programme 'The Saturday Night Show' last weekend.

The dynamic duo were also on the show, and their mother was in the audience. Barrymore told the show's host Brendan O'Connor: "I happen to know their mother very well. Extremely well, and if you look very closely... Seriously, how old are the boys? Aged about eighteen now... I can't remember. I send them maintenance money. I don't wish to shock, I know the father is sitting there wishing they were his".

When O'Connor tried to assure his audience Barrymore was joking, the unhinged former ITV star exclaimed: "How dare you take my children away from me? Outrageous".

To be fair to Barrymore, if ever there were offspring that could conceivably have been conceived during alleged non-consensual gay sex in a swimming pool, surely it's these two?

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Andy Malt
Chris Cooke
Business Editor &
Caro Moses
Georgina Stone
Editorial Assistant
Owen Smith
Approval Officer
Paul Vig
Club Tipper

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