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CMU Info
Top Stories
US government report raises doubts about industry piracy claims
Steve Reid dies
In The Pop Courts
Jacko trustees knock back seven legal claims
Nas ordered to write ex-wife Kelis a nice big cheque
Pop Politics
Keane anger at Conservatives song use
Release News
Scissor Sisters announce new album
Crystal Castles announce second album
Blondes announce debut EP
Gigs & Tours News
Kelis announces UK show
Ólöf Arnalds announces debut UK show
It Came From Japan announce showcase tour
Festival News
Festival line-up update
Album review: Adam Lambert - For Your Entertainment (Sony Music/19)
Brands & Stuff
Robbie to flog cameras
The Music Business
OfCom to start three-strikes code discussions this week
New rights management service for songwriters launches
The Digital Business
Twitter confirm promotional tweets to appear in search
The Media Business
Evans to front new entertainment-focused Friday night One Show
And finally...
Charlotte Church announces engagement
Rufus Wainwright outs 50 Cent

Alternative pop musician Mr Fogg self-released his debut single 'Giving In' in 2005, gaining airplay from Radio 1, 6music and Xfm. He then ran 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. Always experimenting with unusual methods for getting his music out there, Fogg used Bandstocks to raise money for a UK release of that album and in December 2009 opened a pop-up shop in central London for four days to perform and sell his music. With his 'Moving Parts' single out this week and the album out on 19 Apr, we caught up with Mr Fogg to ask the Same Six.

Q1 How did you start out making music?
I wrote my first song when I was seven or eight years old. I started out playing the electric organ and then the piano, but I was always more interested in creating my own melodies than learning to play other people's. Then, when I was about twelve, I discovered the four-track tape recorder and started to experiment with layering guitars, keyboards, bass and drum machine and making complete recordings.

Q2 What inspired your latest album?
Very early on I had an idea that I wanted to make an album that could be listened to all the way through. But to start with the possibility of making an album at all was very far off, so I was writing as many songs as I could with no clear idea of where they fitted in. Then, when I decided that it was time to focus on making the album, I started to sketch a structure in my head of where certain songs might fit in and I realised there were gaps. So I set about writing songs to fill those gaps. For example, I didn't have a song that could end the record, so I wrote 'Answerphone' specifically to be the last track on the album.

Q3 What process do you go through in creating a track?
I tend to spend a lot of time improvising until I start coming up with things that I like - I usually get obsessed with a particular chord change, or second or two of melody, and then build out from that. Then it's an editing process of condensing and re-ordering a whole series of those moments into a song. The very last thing I write is the lyric and vocal melody - I'm constantly singing ideas to myself, but I never commit to anything until the very last minute.

Q4 Which artists influence your work?
The artists I reach for time and time again are Radiohead and Björk, but in terms of an influence on my work, I'm constantly listening to and analysing everything I hear and taking influences - even from music I don't like!

Q5 What would you say to someone experiencing your music for the first time?
I think nowadays we almost have too much information about music we haven't heard yet, and as a result we're subconsciously making decisions about whether we like things we've never listened to. So, I would say to somebody who was about to listen to my album for the first time, don't read anything about it, don't ask anybody else what they think of it, just set aside a time when you are doing nothing else and focus on the music for 40 minutes - give it the same attention you would a film in the cinema.

Q6 What are your ambitions for your latest album, and for the future?
When I am writing music, occasionally I come across a combination of notes that sends a shiver down my spine. I'm constantly chasing those moments and trying to pin them down. My songs are basically a collection of bits of music that have had that effect on me, and my job is to try to convey that same feeling to the listener. So my ambition is to try to create music that has the same physical effect on other people that it does on me.

MORE>> www.mrfogg.co.uk

British folk artist Johnny Flynn released his debut album 'A Larum' back in 2008, and although we had the delights of last year's 'Sweet William' EP, it's good to hear he's now finished plugging away at his follow-up album 'Been Listening'.

Set for release on 7 Jun through Transgressive Records, the album was produced by Ryan Hadlock (who also worked on 'A Larum') and recorded with Johnny's band The Sussex Wit in London and Seattle. The album also features collaborations with his pals Laura Marling and Anna Calvi.

As a teaser, album track 'Kentucky Pill' has been made available as a free download; which seems like a perfect introduction to the new record and starts off sounding like the theme to a Western, brilliant. Currently on tour in Europe with Mumford & Sons, Johnny returns in May to tour the UK.


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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Radio 4 chap moves over to academia
RSC Romeo and Juliet kicks off on Twitter
BBC launches Drama Writers Academy for sixth year running
New MPs will rely more on social media
Ofcom tell off Penk over Jump, let off 5live over RATM
Brown backs BBC 6music
Spiegeltent may be absent from Edinburgh again this year
Music festival line-up update - 13 Apr 2010
City Showcase announces classical strand

Efforts to persuade US politicians that they might want to introduce something similar to the three-strikes anti-piracy system put in place here by the Digital Economy Act might be hindered by an official report which says music and film industry estimates regarding the economic impact of online piracy don't stand up to rigorous scrutiny.

The year-in-development report by the US Government Accountability Office, commissioned by US Congress, accepts that piracy, including online piracy, is a "drag" on the economy, but it adds that it has some fundamental problems with the methodology employed by researchers working for record companies and film studios who create the stats used by those firms when they claim piracy is costing their industries billions a year.

They even threw doubt on some of the stats used by government officials in the piracy debate, observing: "Three widely cited US government estimates of economic losses resulting from counterfeiting cannot be substantiated due to the absence of underlying studies. Each method [of research] has limitations, and most experts observed that it is difficult, if not impossible, to quantify the economy-wide impacts".

The report also noted research that has been done outside the music and film industries that suggests some piracy - especially P2P file-sharing - can have positive impacts on those sectors, because it provides a cheap organic marketing platform. The report observes: "Some experts we interviewed and literature we reviewed identified potential positive economic effects of counterfeiting and piracy. Consumers may use pirated goods to 'sample' music, movies, software, or electronic games before purchasing legitimate copies, [which] may lead to increased sales of legitimate goods".

It should be noted that overall the report, which reviewed all kinds of intellectual property infringement, not just online copyright infringement, concluded that piracy was, in general, a bad thing. But it also throws quite a bit of doubt onto the more dramatic statistics that are regularly presented by the music and movie industries when trying to win political support for more hardline anti-piracy laws. Moreover, and rather unhelpfully for those industries, the GAO concludes there are so many variables at play it is more or less impossible to accurately identify the economic effect of piracy to whole industries, even if you employ an academically sound research methodology.

Of course, it's no secret that much of the research presented by the record industry in its anti-P2P battle has been flawed in many ways. A lot of the research equates every music file illegally shared with a lost sale, and then applies a wholesale value to every file, hence the "we're losing billions to piracy" claims. But that method deliberately ignores the fact that if piracy didn't exist file-sharers would own a lot less music, rather than spend a lot more money on records.

Other research correlates the decline of record industry revenues with the rise of P2P file-sharing, ignoring the accompanying growth of legitimate 24/7 music services which also compete with traditional record sales (eg jukebox TV channels, more music radio services, online services), the boom of other entertainment products that compete with music (eg games, DVDs, pay-TV) and the arrival of new music products (ringtones in particular). It also compares recent record sales with 1990s record sales, despite revenues in the nineties being artificially boosted by the unnecessary five pound mark up on pretty much every CD sold.

So, that the GAO have raised concerns regarding the music and movie industry's grand "we're losing billions" claims wheeled out whenever content industry execs meet with politicians is no surprise, and suggests the counters at the government agency have done their job properly. Not that any of that means content owners or political types should simply turn a blind eye to all IP infringement; after all, intellectual property rights aren't really 'rights' if they can't be enforced.

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Legendary and highly prolific jazz drummer Steve Reid died in his sleep some time between Monday night and Tuesday morning in New York. He was 66 and had been suffering from cancer.

Born in 1944, Reid grew up surrounded by music and played from an early age. He told CMU last year: "I was born in the Bronx and grew up on Lyman Place, across the street from Thelonious Monk (his wife Nellie used to babysit his daughter Ruby and me). Meanwhile, in the flat above my family's lived Elmo Hope, a true piano giant. The walls had music. I used play on my mother's furniture and pots and pans from the kitchen".

He turned professional at the age of sixteen, his first recorded work being with Martha And The Vandellas, working as part of the Apollo Theatre House band under the direction of Quincy Jones. In subsequent years he played with all manner of artists, including Miles Davis, Ornette Coleman, James Brown, Fela Kuti and Sun Ra, as well as working as a session drummer for Motown. He continued to write and perform right up to the present day with The Steve Reid Ensemble, with whom he performed his last UK show at The Jazz Café in London in October.

In recent years, he also worked with Four Tet's Kieran Hebden, describing Hebden as his "musical soul mate". The pair released four albums together: 'The Exchange Session Vol. 1' and 'The Exchange Session Vol. 2' in 2006, 'Tongues' in 2007 and most recently, 'NYC' in 2008.

Hebden said in a statement yesterday: "Steve was one of my great friends and the most wonderful musician I have ever encountered. The music and adventures we shared have been some of the most happy and meaningful experiences I've ever had. A true inspiration. He lived a great life and gave us incredible music. I'll miss him forever".

Asked about his future ambitions last year, Reid told CMU: "I do not have ambitions, but my goal is to play and record some meaningful stuff that people will enjoy long after I have left the planet. My offering is the music I play. Joy and fun should be shared with love as a motive".

Read Steve's Same Six Questions interview in full here: www.thecmuwebsite.com/ssq/stevereid.html

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Lawyers handling the affairs of the late Michael Jackson have rejected seven multi-million dollar claims made against the late king of pop's estate, including the much previously reported claim made by promoters Allgood Entertainment who alleged that Jacko was in breach of a deal it had done with the whole Jackson family which would have seen all the Jackson siblings performing at one big telecast comeback gig in the US this year.

Allgood's management claimed Jackson's subsequent deal with AEG Live regarding the doomed O2 residency was in breach of that agreement. But Jacko estate lawyer Howard Weitzman yesterday filed legal papers rejecting that and six other claims for cash made against the Jackson fortune.

The other rejected lawsuits include the previously reported claim by one Nona Paris Lola Ankhesenamun that she was married to Jackson at the time of his death, and another relating to that planned Jacko memorabilia auction that was cancelled at the last minute this time last year when Jackson and the auction house staging the sale fell out.

Another lawsuit is from an LA tax payer who wants the Jackson estate to pay all the costs associated with the big memorial event staged at the city's Staples Center shortly after his death last year. Meanwhile, according to TMZ, one more of the rejected legal claims was not for money, but came from a 25 year old man who was demanding a DNA test to enable him to prove he is the late singer's son.

It remains to be seen if any of the seven people whose claims for Jacko cash have been rejected by the estate now choose to pursue their claims through the courts.

In related news, celebrity publicist Raymone Bain, who represented Jackson to the press for years, including during his 2005 child abuse trial, is suing the estate for $360,000 in unpaid fees. It's not clear how this relates to legal action Bain launched just before Jacko's death last year relating to her time running the singer's Michael Jackson Company. That was meant to be a multi-million dollar lawsuit.

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Nas has been ordered to write a large cheque to ex-wife Kelis as part of the ongoing dispute regarding the spousal and child support the rapper is due to pay is ex.

I've kind of lost track with this dispute, but do remember that Kelis wants an awful lot of money from her husband of five years. The court has generally been quite generous to the R&B songstress, but Nas has seemingly not been paying up.

An LA court told him on Monday to hand over nearly ninety grand there and then, to cover some of the owing back payments, and also increased his monthly commitments to Kelis to accommodate other monies still owing. He'll also have to pay the majority of Kelis' legal fees.

TMZ concludes that the moral of this story is that, if you're millionaire superstars and you're getting divorced, try to get Kelis' attorney Laura Wasser on your side.

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I know, the mental picture of the Keane boys getting properly angry about anything isn't exactly an easy one to conjure up, almost as hard as trying to imagine Tom Chaplin having a rawkus enough life that he'd really need rehab. But angry they are, and at those Tory boys, who used Keane song 'Everybody's Changing' during the Conservative Party manifesto launch yesterday.

Upon hearing the news, the band's Richard Hughes took to Twitter to say: "Told the Tories played Keane at their manifesto launch. Am horrified. To be clear - we were not asked. I will not vote for them". Asked about their use of the Keane track, a Conservative spokesman told the BBC: "It's a great song and David's a great fan".

As much previously reported, there is nothing artists can do about political parties playing their records at rallies and other such events, because such public performance of recorded music is covered by a blanket licence.

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Scissor Sisters have announced that they will release their third album, entitled 'Night Work', on 28 Jun via Universal/Polydor. It will be preceded by a single, 'Fire With Fire', on 20 Jun.

Apparently more dance-influenced than previous albums, the band's Jake Spears explains: "'Night Work' is really us boiled down to who we are. It feels quintessentially us".

You can listen to a track from the album, 'Invisible Light', now at www.scissorsisters.com

The full tracklist for the album looks like this:

Night Work
Whole New Way
Fire With Fire
Any Which Way
Harder You Get
Running Out
Something Like This
Skin This Cat
Skin Tight
Sex and Violence
Night Life
Invisible Light

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Crystal Castles will release their second album via Fiction on 7 Jun. Having thought long and hard about what to call the album, they opted for 'Crystal Castles', coincidentally the same title as their 2008 debut.

Produced again by the duo's Ethan Kath, the album was recorded in various locations around the world, including a church in Iceland, a self-built cabin in Ontario, and a garage behind an abandoned convenience store in Detroit.

If you want some Crystal Castles fun sooner than June, you should get yourself down to an independent record shop this Saturday and pick up the first single from the album, 'Doe Deer', which is being released on limited edition twelve-inch vinyl exclusively for Record Store Day.

You can also catch them live Heaven in London on 20 Apr, and the duo will be back in the UK for various festival appearances over the summer.

Tracklist, anyone?

Fainting Spells
Doe Deer
Year of Silence
Violent Dreams
Pap Smear
Not In love
I Am Made Of Chalk

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Brooklyn "ecstatic trance" duo Blondes have announced that they will release their debut EP, 'Touched', via Merok on 28 Jun. This is good news, and here's why: www.myspace.com/blondeblondeblondes

There are five tracks on the EP. Their names are these:

You Mean So Much To Me
Spanish Fly
Paradise City
Virgin Pacific

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Presumably needing to make some quick cash - that ninety grand hand out from Nas isn't going to last forever - Kelis has announced two UK shows for next month. Well, London shows. But London is in the UK. Unless someone's moved it. The singer's latest single 'Acapella' is available digitally right now and will be released physically via Interscope/Will.iam Music Group on 10 May. Her new album, 'Flesh Tone', will follow on 17 May.

Here are the dates:

8 May: London, Heaven
14 May: London, The Coronet

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Icelandic musician Ólöf Arnalds will be in London tomorrow night (15 Apr) to play some of her very lovely music on UK soil for the first time. She will play at Café Oto in Dalston with support from David Thor Jonsson, whose set will apparently segue into Arnalds', thus making for one continuous show.

Arnalds' second album, 'Innundir Skinni', will be released by One Little Indian in October and features contributions from Björk, Skúli Sverrisson, Shahzad Ismaily, Amiina's María Huld Markan Sigfúsdóttir, Davíð Þór Jónsson and Raggi Kjartansson.

Have a little listen here: www.myspace.com/olofarnalds

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Tokyo-based promotions company It Came From Japan, which exists to send the finest in new Japanese musical talent on trips to the UK, has announced details of their latest tour, which will showcase the talents of dark popsters Natccu, garage rockers Sunset Drive, post-punkers Lillies And Remains and the unhinged Wii-powered electro of Sputniko!

You'll find them here:

30 Apr: Brighton, Moshi Moshi Sushi festival (Natccu, Sunset Drive)
1 May: Brighton, Moshi Moshi Sushi festival (Natccu, Sunset Drive, Sputniko!)
2 May: London, The Fiddlers Elbow (Camden Crawl - Natccu, Sunset Drive and Sputniko!, with compere Bob Slayer)
3 May: Bournemouth, The Winchester (Natccu, Sunset Drive)
7 May: Liverpool, Zanzibar (Sunset Drive)
8 May: London, Terracotta Film Festival afterparty (Sunset Drive)
12 May: London, Dublin Castle (Sunset Drive)
14 May: London, The Lexington (Natccu)
15 May: Brighton, The Basement (Great Escape - Natccu, Sunset Drive, Lillies And Remains, with compere Iain Lee)

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CAMDEN CRAWL, various venues, Camden, 1-2 May: Rolo Tomassi, Is Tropical, Lets Go To War and Man Like Me have been announced to play the new outdoor live arena at this year's Camden Crawl. Also playing the Red Bull Bedroom Jam Arena are Kasms, We Are The Ocean, Chew Lips, Dan Le Sac vs Scroobius Pip, Flood Of Red and Skepta. www.thecamdencrawl.com

LIMETREE FESTIVAL, Limetree Farm, Grewlthorpe, North Yorkshire, 27-29 Aug. The Blockheads, James Taylor Quartet, Rocky Dawuni, Smoove & Turrell, Utah Saints and afrobeat space-jazz sensations the Ariya Astrobeat Arkestra have all be confirmed for this year's Limetree Festival. Craig Charles will also broadcast live from the event for 6music. www.limetreefestival.co.uk

READING AND LEEDS FESTIVAL, Little Johns Farm, Richfield Avenue, Reading and Branham Park, Leeds, 27-29 Aug: Serj Tankian, A Day To Remember, Wild Beasts and Thrice are amongst the latest acts to play at this year's Reading and Leeds. Other acts added to the bill include The Futureheads, The Walkmen, Mystery Jets, Young Guns, New Young Pony Club and Motion City Soundtrack. www.readingfestival.com and www.leedsfestival.com

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ALBUM REVIEW: Adam Lambert - For Your Entertainment (Sony Music/RCA/Jive/19)
Okay, I confess. I was addicted to last year's 'American Idol', and it was all down to this dude. Why? Well, it was a mixture of his outlandish performances on the show, his shockingly refreshing attitude to the business and to his representation in the press, and the fact that yeah, he had a pretty decent voice. A raw, interesting, genuinely talent-ridden voice that could and should have sounded fantastic on its own, untouched by computers.

So my question is, then, what the fuck is this shit? 'For Your Entertainment' should have been good. It should have laid the foundations for a promising career, and it should have been the classic rock album that Lambert promised us. Instead, we find that poor Adam's voice has been hashed and rehashed to pieces, and the end product is sorely disappointing, a bland, too-shiny pop record with some glimpses of promise, but a stab in the heart to those who supported him throughout the competition.

Granted, with any major label you're going to have to shift a few things around in order to reach the 'right market', and on first listen, I was actually initially impressed by the production of 'For Your Entertainment' and its pop appeal. But stripping away all of that reveals this album for what it is - soulless. The plastic-ness smothered on top of it is thicker than Adam's foundation.

Back to those glimpses of promise, though - lead single 'For Your Entertainment' is a slick offering of Gaga-esque swagger, and 'Whataya Want From Me' (please, no more absurd shortening of words in song titles) is Adam at his best, away from the synths and robotic, Kanye-esque vocal effects.

I still support Adam, and I'm still holding onto the hope of something deeper from him in the future. But really, I should have known what I was in for from the Xanadu-esque cover... TW

Physical release: 3 May
Press contact: Digital Rebel

Buy from iTunes
Buy from Amazon

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EMI and Robbie Williams have done what is presumably quite a profitable sync deal with camera people Nikon, which will see the flagging popster appear in ads for the Nikon Coolpix camera range.

The ad will feature footage from Robbie's 2003 Knebworth gigs, and will see Williams use a Nikon camera to snap his record breaking audience alongside the expression "I am alive". Whether EMI have sent Williams back in time in order to record the segment at the Knebworth event with a Nikon camera I'm not sure, though if they have developed a time machine that would explain at least some of the major's multi-billion dollar debts.

The partnership has been negotiated by EMI, Robbie's management IE and Nikon's ad firm Jung Von Matt/Spree. And look, here's a quote from EMI's brands man Rafael McDonnell: "The new Nikon Europe campaign featuring Robbie Williams shows the power music has to connect with people. The partnership we've built between EMI Music, IE Music, Nikon and Jung von Matt/Spree shows how we can bring together the right artists and the right brands in ways that are mutually beneficial to all".

Robbie this week also announced he is to become a "goodwill ambassador" for the Caudwell Children charity.

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Media regulator OfCom will reportedly meet with rights holders, ISPs and other stakeholders tomorrow to begin work on the 'code of conduct' that will help make the three-strikes system set out in the Digital Economy Act a reality.

That's actually quite a bit sooner than originally expected, we thought everything might now be on hold until after the General Election. That said, given the Tories helped make the Digital Economy Act law, unless there is a hung parliament empowering the Liberal Democrats after next month's big vote, it can be assumed plans to get the three-strikes system up and running asap will be embraced by whoever forms the next government.

This week's meeting will be very much a preliminary affair, with proper discussions on the code to due begin next month, with the hope some sort of draft code can be published in September. It remains to be seen how the internet service providers respond to the consultation. Some, Talk Talk in particular, are still set on opposing and hindering the three-strikes proposals in any way they can.

OfCom have confirmed any code will have to be run by the European Commission, meaning it is unlikely any warning letters will actually be sent out under the three-strikes system until early 2011, meaning net suspensions may not be properly on the agenda until 2012.

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A new service has launched that will help songwriters manage and exploit their own publishing rights without having to do a publishing or administration deal with a traditional music publisher, instead unsigned songwriters can administrate their own music rights via a web-based platform.

Firstmusiccontrol.com - which seems to be very much in the same territory as Sentric Music, which already represent hundreds of artists on a similar basis - says it wants to "enable and empower the creative community by offering tailor-made online services that breaks open the world of music publishing".

Firstmusiccontrol.com offer two packages, a basic offering will help signed up rights holders collect their royalties, principally by simplifying their relationship with collecting societies like PRS, while a premium package will see FMC also set up a limited company for the writer, and help them manage their affairs in that way.

Like Sentric, FMC won't ask for any ownership of the rights of signed up songwriters. It's not clear if they plan to offer sync representation for their songwriters, an area where Sentric has garnered itself a particularly good reputation in the last eighteen months.

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Twitter has confirmed plans to let brands buy promotional tweets that will appear in searches made on the micro-blogging platform, a revenue raising plan previously revealed by the Wall Street Journal.

The system adapts Google's main text-based search-placed advertising system, though with Twitter advertisers will have to adhere to the 140-character limit. Twitter bosses say they already have Starbucks, Sony Pictures, Red Bull, Bravo and Best Buy signed up for the new ads system.

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

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

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I know what you're thinking. You're thinking: "But I didn't even know she'd got divorced from Gavin Henson". But she hasn't, see? They never were married. They're only just getting engaged now. They've been living in sin all these years. And they've got two children. Horrifying. What's the world coming to? I blame Richard and Judy.

Erm, yeah. So, anyway, Charlotte Church has announced that she and her long-term boyfriend, rugby player Gavin Henson, actually got engaged two months ago but have been keeping it a secret until such a time that Church was ready to relaunch her music career and could get the optimum amount of press coverage out of it. Or something.

She told OK! magazine: "I was really emotional. I absolutely didn't expect it. It was brilliant. It was perfect the way it happened - it was a lovely day, it was really awesome, the ring was perfect, he was lovely.I think we may as well get married soon. There's no point hanging around, we'll probably have about 100 people [at the wedding]".

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Rufus Wainwright has claimed that 50 Cent is gay in a new interview with Details. I think that makes it official. 50 Cent is yet to respond, but does he really need to? Rufus' word is gospel.

Wainwright said: "I think he's just the sexiest, and a brilliant writer. And I know he's gay. That cute little voice of his. It's okay, 50 Cent. Feel free to call me anytime. My boyfriend and I are experts. You can come over for dinner. And maybe dessert".

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