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CMU Info
Top Stories
Last.fm turns off on-demand streaming
Pop Politics
Sting criticised over Uzbekistan show
Awards & Contests
Parliamentary Jazz Award noms out
Classical BRIT noms out
Reunions & Splits
Supergrass to split after final tour
Release News
Health release new video
Matthew Herbert releases part one of trilogy
Gigs & Tours News
Roger Waters tackles The Wall, Flaming Lips go Dark
Hole announce UK shows
Dinosaur JR announce May shows
Cool In The Pool label launch
Festival News
Festival line-up update
Album review: The Pipettes - Earth Vs The Pipettes (Fortuna Pop)
The Music Business
PPL international revenues at all time high
The Digital Business
PRS strike up alliance with MySpace
The Media Business
Ofcom tell off Penk over Jump, let off 5live over RATM
Brown backs BBC 6music
Chart Of The Day
Total Rock World Album Chart
And finally...
Snoop Dogg wants Boyle

Darwin Deez, aka Darwin Smith (yep, it's his real name), is a purveyor of infectious indie-pop. Having left Wesleyan University five years ago to start a band in New York, he's built up quite a following with a live set featuring his original songs, harsh electronic noise and bouts of synchronized dancing with his band (think of a slightly cooler version of the Napoleon Dynamite dance routines). Darwin Deez releases his eponymous debut album this week via Lucky Number, and will be in the UK for the next few months for the NME Radar Tour and various festival dates. We caught up with Smith to ask deez Same Six Questions.

Q1 How did you start out making music?
It was a lot like the way Bastian starts to read the 'Neverending Story', only substitute the dusty hardback for a Stratocaster. And instead of Auryn, I had an akai S2000 rackmount digital sampler (equally awesome for what it was). And instead of Falkor, I had Jeff Yankauer's PowerTracks Pro, a software MIDI sequencer for Windows 3.1.

Q2 What inspired your latest album?
Two local NYC artists: Bell and WAKEY!WAKEY! Strong songwriters, both. They both woke me up to the possibilities of lyrics. And my personal relationships, of course. But where does my inspiration come from beyond that? I don't know.. this is a hard one. I think it often comes from feeling bad. Negative emotions. It feels good to hit the guitar strings and push high notes out of my throat when I'm upset. It's cathartic. But I guess that goes without saying. More on this later (see Q4).

Q3 What process do you go through in creating a track?
First, I get my feelings hurt. Then, I get the guitar, and... no, just kidding. But let's see... for most of the tracks on this album, I started with a topic or concept for the song, and then I established the rhythm guitar part and the lyrics and melody. More than once, I started with the first line of the first verse, and in those cases, the first line then determined the shape of the verse melody, and then I wrote a chorus to contrast it. I added all the other instrumentation during the recording process.

Q4 Which artists influence your work?
You mean who do I steal from? Can't tell you because it would ruin the magic, but my answer to Q2 has a clue or two in it... no, I'll tell you: the dismemberment plan is a big one. Travis Morrison's whole approach to lyric writing is so fresh and authentic and effective. I've learned a lot from his stuff. Musically, it amazes me how consistently the 'Thriller' singles will kickstart any dance party, and I've paid close attention to the rhythm tracks on that album. Ben Gibbard also paints a scene very well. Influence? You decide. Oh, and the fact that I make up-tempo guitar-based music probably does have to do with the success of The Strokes. Their success was influential - hugely. Their music also influenced me, I'm sure. Although I think my sound is completely different. If The Hives were still around, I don't think people would be stamping me with The Strokes label so much.

Q5 What would you say to someone experiencing your music for the first time?
Shut up and dance!

Q6 What are your ambitions for your latest album, and for the future?
My ambition for this album is to quit my day job as a waiter. My ambition for the next album is to write and record a timeless, honest piece of music that is also commercially successful.

MORE>> www.myspace.com/darwindeez

Formed in 2007 by guitarist Rory Brattwell, following his stints in Test Icicles and RAT:ATT:AGG, KASMs are a post-punk four-piece based in Dalston.

Their sound has a dark melancholic intensity that's met with frantic high energy; kind of a goth-punk sound, with lead singer Rachel's vocals showing a hint of Siouxie Sioux. Their live shows are full of hurling-yourself-on-the-floor antics, making the band's harsh rhythmic songs sound all the more fun. In their own words, they describe their sound as 'shriekbeat'.

The band released their debut album 'Spayed' last year on Trouble Records, and it is up in full on their MySpace page for you to hear. Having generated some interest at this year's SxSW, the next opportunity for you London-based industry types to check these guys out is probably next month's Camden Crawl.


Division PR is looking for a national print publicist with some online press knowledge. We are looking for a self motivated person who loves all genres related to indie music to join our growing team of fellow music obsessives. Division represents artists such as Gallows, MGMT, Mark Ronson, Enter Shikari, Black Lips, Trail Of Dead, Placebo, Noisia, Pendulum, The Brian Jonestown Massacre, Les Savy Fav, Ganglians, Converge, Torche, The Sword, The Walkmen, Mogwai, Black Sabbath, We Are Scientists, Nirvana and many more. A minimum of 2-3 years experience in artist PR is essential and salary is based on experience.

Please contact Zac Leeks - zac@divisionpromotions.com or visit www.divisionpromotions.com
Experienced music buyer needed to join a new London-based retail company in a part time role with room to grow. Applicant should have a broad knowledge of genres and be an expert at valuing and pricing used vinyl and proficient in new vinyl and CD as well. Working with passion, loyalty and fearlessness within a small up-and-coming company is essential. Hours flexible and pay negotiable.

Please send expression of interest to Danis at danis@redrosemusic.co.uk
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Music Gain is acquiring record labels and catalogue. If you are thinking of selling, or have a large catalogue you want managed on your behalf, then please contact us. Introduction and spotters fees also paid. Please visit us - www.musicgain.com
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BBC launches Drama Writers Academy for sixth year running
BBC commission another series of E20
Rare first edition of Kipling's 'Jungle Book' found
Journalist survey rather gloomy
Ross on Sachsgate and being happy to leave the Beeb
Indy editor steps down
Music festival line-up update - 12 Apr 2010
Glastonbury renames Jazz World stage
Mantel and Harris set for Borders Book Fest

Last.fm has dropped the on-demand streaming part of its service, the bit which proved controversial in the early days, and which was positioned as being a core part of the web platform after CBS took the company over in 2007 and struck up licensing deals with the major record companies. The aim from this point onwards is to link people looking for on-demand music to other services which 'scrobble', so rival digital music platforms which can send listening stats back to a user's Last.fm profile.

On-demand streaming was presumably one of the more expensive-to-run elements of the Last.fm offer, so much so track-listen limitations were introduced and the service was only available to paying subscribers outside the UK, US and Germany. It seemed increasingly unlikely Last.fm could really compete with the more compelling on-demand streaming services on the market like Spotify and MOG, so working with those services rather than competing with them is a sensible option; and has seemingly been an option on the Last.fm agenda for sometime.

Last.fm will continue to provide its Pandora-style personalised radio system, but will focus on enhancing its stats, artist and track profile and social networking services, which are areas where they have always better competed with rivals. Though whether there is serious money to be made out of any of those services long term remains to be seen; on-demand streaming, while expensive and risky, is arguably a more viable business to be in, in both the subscription and ad-funded domain.

Partner services Last.fm will link to for on-demand streaming include Spotify in Europe, MOG in the US, MP3 blog aggregator Hype Machine, and moving forward We7 and Vevo where those services operate. You get the feeling Last.fm will actually look to work with any digital music provider able to support the scrobbling stats system.

Confirming the change, the Last.fm team wrote in a blog post yesterday: "We believe that this renewed focus on Last.fm as the definitive online home of your music taste and your base for music discovery - regardless of where you listen - will help improve not just our users' musical lives but the overall online ecosystem as well".

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Human rights groups have reacted angrily to news that Sting recently performed a private show for the daughter of Uzbekistan dictator President Islam Karimov, who reportedly has one of the world's worst records for human right abuses, using torture to suppress political activism and religious freedom.

The show took place last October and was organised by children's charity Unicef, but has brought new criticism recently, with calls for the former Police frontman to donate his fee, thought to be £2 million, to charity.

Campaign director of Global Witness, Gavin Hayman said that they had attempted to contact Sting ahead of the show last year, saying: "We heard that Sting was to play in Uzbekistan and so we phoned and then sent an email to his publicist, Tracy Bufferd, to inform them about the brutal repression in Uzbekistan. We did not receive any response".

Meanwhile, Alex Yearsley, director of campaign group Uzbekistan Exposed, added: "We shall campaign relentlessly and vocally until Sting does the right thing and puts this blood money to good use. We were shocked to learn that Sting had given this secret concert and received a reported £2 million-plus for his work. Many pro-democracy and human rights groups were outraged and saddened in equal measure that he was prepared to perform for the daughter of this brutal dictator. Through his actions, he has severely damaged his credibility as a human rights activist and environmental campaigner. But it is not too late for Sting to redeem himself".

In a statement, Sting defended his decision to play the show, saying: "I believe boycotts are counter-productive, [and result in] states [being] robbed of the open commerce of ideas and art and [they] become more insular".

Despite this, an online petition has now been launched, urging the musician to donate his fee to charity.

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Parliament may be shut for business while bosses there try to find some MPs who aren't egotistical, out-of-touch, money-grabbing, self-seeking, tedious delusional fools (good luck with that by the way), but that hasn't stopped the noms for this year's Parliamentary Jazz Awards from being released, which is all jolly exciting.

The UK's main jazz gongs fest is again organised by the All-Party Parliamentary Jazz Appreciation Group and sponsored by collecting society PPL. The boss of the latter, Fran Nevrkla, told CMU yesterday: "We at PPL are delighted to continue our long standing relationship with APPJAG and to be the main sponsor of these awards. These Jazz Awards remain a special night for Parliament, the jazz community and award recipients as well as for PPL and the music industry generally".

The winners will be announced at a shindig in that conservatory that's been stuck on the back of Parliament on 19 May. Here are the noms...

Jazz Musician: Gwilym Simcock, Mark Lockheart, Sebastian Rochford

Jazz CD: Janette Mason - Alien Left Hand, Liam Noble Trio - Brubeck, The Gareth Lockrane Septet No Messin

Jazz Ensemble: Nigel Price Organ Trio, Phronesis, The Printmakers featuring Nikki Iles & Norma Winstone, trioVD

Jazz Venue: Café Oto (London), Jazz Bar (Edinburgh), Old Fruit Market (Glasgow), Spice of Life (London), Vortex (London), Wakefield Jazz (Yorkshire)

Jazz Journalist: Daniel Spicer, John Fordham, Mike Flynn

Jazz Broadcaster: Alyn Shipton, Helen Mayhew, Jez Nelson

Jazz Publication: Jazz UK, Jazzwise, www.LondonJazz.blogspot.com

Jazz Educator: Gary Crosby, Kathy Dyson, Nick Smart

Services To Jazz: Brian Blain, Tommy Smith, Tony Dudley Evans

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Noms were also announced yesterday for the Classical BRITs. Some of these we already knew I think. Best Album certainly. But hey, here they are in their entirety. Brilliant. The most classical of BRITSs will be presented at what is being called an awards ceremony on 13 May in the most Royal of all of the many Albert Halls. Enjoy.

Female Artist Of The Year: Angela Gheorghiu, Anna Netrebko, Marin Alsop

Male Artist of the Year: Antonio Pappano, Bryn Terfel, Vasily Petrenko

Composer of the Year: Howard Goodall - Enchanted Voices; Ludovico Einaudi - Nightbook; Thomas Ades - The Tempest

Young British Classical Performer or Group: Faryl Smith, Jack Liebeck, Stile Antico

Soundtrack of the Year: Alexandre Desplat - The Curious Case of Benjamin Button; Michael Giacchino - Star Trek; Thomas Newman - Revolutionary Road

Critics' Award: Isabelle Faust & Alexander Melnikov - Beethoven Sonatas; Steven Osborne - Rachmaninoff Preludes; Roma Orchestra dell' Accademia Nazionale di Santa Cecilia, Antonio Pappano, Rolando Villazón, Anja Harteros, Sonja Ganassi, Rene Pape - Verdi: Messa da Requiem

NS&I Album of the Year: Alma Mater Ft The Voice Of Pope Benedict - Music From The Vatican; Blake - Together; Camilla Kerslake - Camilla Kerslake; Coldstream Guards Band - Heroes; Faryl Smith - Faryl; Fron Male Voice Choir - Voices Of The Valley: Memory Lane; Howard Goodall's Enchanted Voices - Enchanted Voices; Only Men Aloud - Band Of Brothers; Rhydian - O Fortuna; The Priests - Harmony.

Lifetime Achievement In Music: Dame Kiri Te Kanawa

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Supergrass have announced that they will split up after a four date farewell tour in June.

In a statement, they said: "We still love each other but, cliché notwithstanding, musical differences have led to us moving on and of course we all wish each other well in the future".

The band had been working on a new album as recently as last month, their first for Cooking Vinyl, to whom they signed in 2009. The album, entitled 'Release The Drones', had originally been scheduled for release next month, though the date was recently pushed back to January next year. It's not clear if the album will now be released at all, or if it was actually completed.

The band's final tour dates are as follows:

8 Jun: Glasgow, Barrowlands
9 Jun: Manchester, Academy
10 Jun: London, Academy Brixton
11 Jun: Paris, La Cigalle

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Have you watched any disturbing music videos yet today? No? Well, you're clearly not even trying. Here's Health's video for 'We Are Water'. It features wood, screaming, chasing, knives and a stabbing in a sensitive area.


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Matthew Herbert this week releases the first part of his 'One Trilogy' via his own label, Accidental Records, with parts two and three to follow later this year.

Entitled 'One One', the album was created using over 2000 samples created by around 350 people and documents a single day in history in various cities around the world. It also sees Herbert singing for the first time on record, of which he says: "Singing for the record was surprisingly difficult. There was no one there to tell me if I was terrible, and if I was terrible I had to fix it myself. I couldn't hide behind nifty production tricks. At times it took dressing in a black tuxedo and half a bottle of wine to get over the nerves".

Part two of the trilogy, 'One Club', was created using samples recorded at the Robert Johnson club in Frankfurt, Germany in a two hour period on 30 Sep last year. The final part, 'One Pig', as previously reported, documents the life of a pig from birth to death and beyond, and is made up entirely of recordings made of the various stages of the pig's existence.

For more info, take a look here: accidentalrecords.bandcamp.com

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Pink Floyd's Roger Waters has announced that he is taking a new live production of his former band's album 'The Wall' on tour, starting with a show at Toronto's Air Canada Centre in September, to mark the album's 30th anniversary. He will then make his way around the US until the end of the year, though it's not clear if there are plans to tour worldwide once these shows are completed.

The performances will feature the album played in full by Waters and a full band, with "state-of-the-art" stage production. Waters explains: "This new production is an attempt to draw some comparisons, to illuminate our current predicament, and is dedicated to all the innocence lost in the intervening years".

In sort of related news, The Flaming Lips have announced that their version of Pink Floyd's 'Dark Side Of The Moon', previously only available as an iTunes exclusive, will be released on vinyl this Saturday as part of Record Store Day's catalogue of exclusive releases. And if you were just wondering how Floyd fans feel about Roger Waters playing 'The Wall' without the rest of the band, just imagine the kind of abuse The Flaming Lips have been getting over their 'Dark Side' cover. The band's Wayne Coyne says he doesn't mind, though.

Coyne told WENN: "The only people who seem to come at you with 'how dare you touch this music?' sort of attitude are the old school Pink Floyd fans. There are these mean-spirited 'how dare you touch Pink Floyd, you guys suck' sort of blogs. I love that controversy and welcome any enemies who want to try and stop us, because, any time people attack you, people want to come to your rescue. If you've never been attacked, you never know what affection and what love and what loyalty you have in your fans".

Speaking to the website Mother Jones, he added: I don't want to get too esoteric about it, but I always liked the idea that a punk-rock freaky group would do 'Dark Side Of The Moon', which is about death and self-rebirth. ... So when we had our chance, I thought, let's put this primitive punk-rock spin on it. I don't know if all of it seems punk rock or primitive. But for some of it, there's definitely a different sort of mood to the songs".

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Courtney Love and friends will be in the UK again next month for a four date Academy tour, the first of which will coincide with the release of the new Hole album, 'Nobody's Daughter', via Universal/Mercury on 3 May.

Tour dates:

3 May: Glasgow, Academy
5 May: London, Academy
7 May: Manchester, Academy 2
9 May: Birmingham, Academy

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Dinosuar Jr have announced a tour of the UK and Ireland in May. The dates are these:

8 May: Oxford, Academy
9 May: Liverpool, Academy
10 May: Galway, Black Box
11 May: Dublin, Vicar Street
13 May: Glasgow, ABC
14 May: Newcastle, Academy
15 May: Leeds, Academy
16 May: Birmingham, Academy
17 May: Cambridge, The Junction
18 May: London, Shepherds Bush Empire

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A new London-based label called Cool In The Pool, which will be affiliated with the lovely !K7, will launch on 30 Apr at The Camp on City Road in London. The blurb says "to reflect the label's musical mission, the night will be a genre busting hotpotch of bits of everything that's good in London right now", which sounds like a fine philosophy for a night to me.

Plugs and ColouringIN will play live, while Friendly Fires will be among the DJs. It will run from 10pm to 4am and will all be free. For more info follow the label on Twitter - it's a new feed, but updates will presumably appear there in due course - twitter.com/coolpoollondon

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DOWNLOAD, Donington Park, 11-13 Jun: Slash, The Used, The Damned Things and Atreyu head up the latest acts announced to play at this year's Download. Among the other acts added to the line-up are Young Guns, Cancer Bats, As I Lay Dying, Breed 77 and Glamour Of The Kill. www.downloadfestival.co.uk

FOOTBALL FUSION, Chapel Gate, Bournemouth, 6-8 Aug: The Enemy, The Hoosiers and Example have all been confirmed to play the UK's first three-day football and music festival. Ms Dynamite, Kid British and Boney M are also part of the line-up, while Matt Le Tissier, Jamie Redknapp and others will lead footballing activities. www.footballfusion.co.uk

THE GREENWICH FESTIVALS, Old Royal Naval College, 21-23, 25 Jul: Seth Lakeman and The Levellers are set to kick off the Summer Sessions as this year's Greenwich Festival, with performances also coming from the Royal Philharmonic Concert Orchestra, and Jools Holland and his Rhythm & Blues Orchestra featuring special guest Alison Moyet. www.festival.org

V FESTIVAL, Hylands Park, Chelmsford, Essex and Weston Park, Staffordshire, 21-22 Aug: Feeder, Eels, Tinie Tempah and Gabriella Cilmi are amongst the latest acts confirmed to play at V Festival this summer, with Diana Vickers, Robyn, The Magic Numbers, Example, Hurts and The Saw Doctors also added to the bill. www.vfestival.com

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ALBUM REVIEW: The Pipettes - Earth Vs The Pipettes (Fortuna Pop)
It's all gone a bit Sugababes for The Pipettes. Four years ago they were they were the classiest girls in pop, backed with songwriter Monster Bobby's swish, ambitious production - so in thrall of all things Phil Spector and 60s orchestral swing. But now none of the original Pipettes remain. Julia Clarke-Lowes carries on with The Indelicates, while Rose Elinor Dougall and Rebecca Stephens have tried the whole solo route.

Though Gwenno Saunders, who replaced Julia just before the group's quite brilliant debut in 2006, is still there, and like Heidi Range in the aforementioned Babes, she was part of the classic Pipettes line up, despite not being a founder member. So she's the continuity that justifies the use of the name that became synonymous with polka dots, pouts and pulling shapes.

Plus Monster Bobby is still behind the music, so this is still definitely a legit Pipettes outfit. Though, as Gwenno's sister Ani takes to the mic as a new Pipette, the group do move on a little musically, briefly into the 21st century, but mainly by adopting an 80s sound. For, like Empire Of The Sun, The Pipettes are finding vibrancy in epic synth, and in album covers of wars in galaxies far, far away.

Those images reflect the sirens that introduce 'Call Me', before the punchy, carefree fun begins. That sort of thing is familiar to Pipette fans, of course, but the wall of sound ambitions are no longer here. Instead, it's the sort of pop Bananarama shone with for a few brief years, with 'Stop The Music' and 'Captain Rhythm' in particular being future retro disco floorfillers.

Faces and styles may have changed, but a beating pop heart remains. And it's a pretty catchy one, too. TM

Physical release: 28 Jun
Press contact: Anorak Media [all]

Buy from iTunes
Buy from Amazon

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Recording rights collecting society PPL has announced its international revenues - ie royalty income from non-UK licensees - was at an all time high in 2009, which is nice. They collected £21.6 million in international revenues for their UK members last year, up from £16.4 million in 2008.

Laurence Oxenbury, who heads up PPL's international division, told CMU: "We have developed a team and an infrastructure which means that performers and companies who invest in music are now getting their international revenues. It is critical that the overall industry develops new revenue streams and naturally we are delighted to have been able to deliver such significant sums of money to performers and record companies".

PPL's international department was only set up in 2002, and now deals with 45 other organisations in 24 different countries.

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Talking of collecting societies, which you were, publishing rights collecting society PRS For Music has announced a strategic partnership with MySpace that will run for much of the year, or until Rupert Murdoch finally puts the flagging social networking site out of its misery, whichever comes first.

The alliance will see the social networking platform try to persuade any unsigned songwriters who have a MySpace profile that they really ought to become a PRS member (which they really ought to), while the collecting society will try and persuade their members to use MySpace as a key digital marketing tool (with they probably shouldn't).

Confirming the partnership, PRS's broadcast and online bod Jez Bell told reporters: "This partnership represents a real opportunity to reach new song writers who are already creating and sharing their music online. MySpace is an incredibly powerful tool for the UK's songwriting community and both organisations are passionate about supporting new musical talent. We look forward to working together to encourage its use, and explaining the real value of PRS For Music to potential new members".

In sort of related news, Music Ally have reported that Jonathan Miller, the main digital man at MySpace owners News Corp, has said at the MIPTV conference in Cannes some sort of music subscription offer from MySpace is "more likely than less likely" and could be launched this year. I'm going to predict they will launch something and it will be awful.

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OfCom has published its latest report on recent complaints submitted to the regulator by radio listeners, which always makes for fun reading.

This report deals with Steve Penk's previously reported decision to play Van Halen's 'Jump' when the main story of the day in the Manchester area where his station Revolution broadcasts was that local roads had come to a standstill because a woman was threatening to jump off a bridge onto a motorway. The report reveals that before playing 'Jump' at the suggestion of a listener, Penk joked that they should put a trampoline on the M60 for the suicidal woman to jump on, and then film it for 'You've Been Framed'.

The media regulator received 57 complaints about Penk's various comments. A spokesman for Revolution, which Penk owns, told OfCom: "Steve's intent was to 'subliminally' demonstrate to [the listeners] and [their] fellow sufferers that he had empathy with their predicament without causing widespread upset amongst the wider audience".

But the regulator said that while the topic of suicide is not off limits as a "subject for comedy", it thought Penk's comments and decision to play 'Jump' broke broadcasting rules. It said: "While some listeners may have been frustrated to be caught in traffic (and contacted the station) most would have been aware that, in real time as the programme was being aired, there was a woman considering suicide. Under such circumstances, and given this context, Ofcom does not consider that the broadcaster applied generally accepted standards".

This OfCom report also deals with the previously reported appearance of Rage Against The Machine on the BBC 5live breakfast show in the days running up to the Christmas number one battle. After a rather civil interview, the band performed their song 'Killing In The Name' live, including the fuck-filled bit at the end, despite giving assurances to producers they'd self-edit that bit.

Although people did complain about the four fucks that got through before the band, who were playing down the line from the US, were faded out, OfCom said that while the BBC should have been more careful, they were going to let them off, partly because they had received assurances from the band and their management, partly because they did issue two on air apologies immediately, and partly because the whole scenario led to one of Radio 5's most classic quotes when co-presenter Shelagh Fogarty said: "Get rid of it! Sorry. We needed to get rid of that because that suddenly turned in to something we were not expecting. Well, we were expecting it and asked them not to do it and they did it anyway - so buy Joe's record".

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Gordon Brown has lent his support to BBC 6music and said that Jarvis Cocker, who presents a show on the station, is his favourite DJ. While, as with most politicians pulled into this debate, he stressed it wasn't his job to tell the BBC what to do, he did manage a bit of electioneering by pointing out that many reckon 6music is being cut in a bid to placate a future Rupert Murdoch-supported Tory government, who are likely to want the Corporation streamlined. His basic implication - the end of 6 is David Cameron's fault.

Asked if he supported the Save 6 campaign, Brown told The Press Association: "Yes because it's the next stage you worry about. The Conservatives have said that they'll hive off Radio 1. A lot of things that the BBC does are incredibly creative and quite risky - and this is a necessary means of us being a creative society. I want to safeguard the independence of the BBC and I think the licence fee is the means by which you do it".

He continued: "The licence fee is essential to the BBC. Any proposal to massively cut the fee or to strip the BBC of its independence - or alternatively, to remove its ability to make certain programmes - is a huge mistake. I don't think politicians should make that decision about what the BBC produces. I think the BBC should make that decision. I also think, personally, that the BBC should not have succumbed to pressure to cut certain things - but they have".

He was also asked, as part of a series of pointless either/or questions, to pick his favourite DJ out of Radio 1's Chris Moyles, Radio 2's Chris Evans and Jeremy Vine and 6music's Jarvis Cocker, to which he replied: "Definitely 6music. Definitely". Which is a shame, because up until that point he'd seemed quite sincere.

In a further dig at Rupert Murdoch-led changes in the media, Brown also said that he didn't think paywalls on newspaper websites, like that being introduced by Murdoch's Times, would work, saying: "People have got used to getting content without having to pay. I don't think you are going to be able to put things behind paywalls in the way that people think". Of course that is the same argument for forcing record labels to licence anything-goes P2P networks instead of supporting three-strikes style systems for stopping the free exchange of content only. Though Brown didn't talk so much about copyright owners having to get used to the public wanting their content for free in last week's Digital Economy Bill debate, did he?

In other 6music news, The Times last weekend reported on rumours that 6 might be saved, but will be rebranded as Radio 2 Extra to fit in with the BBC's new 'only five national radio brands' system, in the same way Radio 7 will become Radio 4 Extra. Radio 2 Extra would likely only broadcast 12 hours a day, instead of the current 24. These are not new rumours, though are being more discussed this week because of the Times report. 6 fans don't like the proposals, partly because of the cut in programming, partly because they don't want to be labelled Radio 2 listeners, even though internally at the Beeb 6 is already a sister station of 2.

As far as we know, BBC management are still set on cutting 6 completely, though they might be preparing options for if the BBC Trust block the radio station cuts in their review of the current cut-back proposals. But a BBC spokesman said yesterday: "We would like to clarify that there are currently no proposals for BBC Radio beyond those outlined in the Strategy Review".

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It's this week's Total Rock World Album Chart, as counted down on Total Rock last weekend - www.totalrock.com. New entries and re-entries marked with a *.

1. Jimi Hendrix - Valleys Of Neptune (Sony)
2. Muse - The Resistance (Warner Bros)
3. Journey - Greatest Hits (Sony)
4. Nickelback - Dark Horse (Warner/Roadrunner)
5. Airbourne - No Guts, No Glory (Warner/Roadrunner)
6. Them Crooked Vultures - Them Crooked Vultures (Sony)
7. Queen - Absolute Greatest (EMI)
8. Dropkick Murphys - Live On Lansdowne, Boston, MA (Hellcat)*
9. Peter Gabriel - Scratch My Back (EMI/Virgin)
10. Foo Fighters - Greatest Hits (Sony)
11. Train - Save Me, San Francisco (Sony/Columbia)
12. Fleetwood Mac - The Very Best Of (Warner Bros)
13. Pearl Jam - Backspacer (Universal)
14. Drive-By Truckers - Big To Do (ATO)*
15. Daughtry - Leave This Town (Sony)
16. Guns N Roses - Greatest Hits (Universal/Geffen)
17. Kiss - Sonic Boom (Warner/Roadrunner)*
18. Billy Talent - Billy Talent III (Warner/Atlantic)*
19. Paramore - Brand New Eyes (Warner/Atlantic)
20. Bon Jovi - The Circle (Universal/Mercury)*

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It seems you're not worth your salt as a musician these days if you haven't expressed a desire to work with Susan Boyle. 50 Cent, Rage Against The Machine, Lady Gaga and Alice Cooper have all said they'd like to record or perform with the 'Britain's Got Talent' runner-up. Now Snoop Dogg has added his name to that list. In fact, he seems to be pretty sure that it's happening.

Snoop told The Sun: "She's a great artist. I'm looking forward to going into the studio with her. Why not? We're going to get our minds together and figure out what we're going to sing about. I'm down with that".

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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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