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Top Stories
6music saved
Terra Firma prepare way for future sale of EMI shares
Island VP lashes out at new Tom Jones album, to be released by Island
In The Pop Courts
US indie man criticises Viacom v YouTube ruling
Apple sued over iPhone 4 antenna issue
Operators of former Finnish BitTorrent site ordered to pay damages
In The Pop Hospital
Online fundraising begins to pay Madina Lake hero's medical bills
Cheryl Cole faints during photo shoot, ordered to rest
Edward Jedward damages leg during T4 show
Ashcroft commends Fry for removing stigma of depression
Award winning JACK presenter dies
Awards & Contests
Muse get their Silver Clef
Artist Deals
Fiddy says he's not leaving Interscope
Gigs & Tours News
Dan Le Sac Vs Scroobius Pip Vs the UK
Festival News
Glastonbury 2011 ticket registration open
Album review: The Drums - The Drums (EMI/Moshi Moshi)
The Digital Business
US colleges step up anti-piracy measures
The Media Business
Wogan says BBC talent should accept pay cuts
Chart Of The Day
Chart update
And finally...
King Of Leon on bad press hurt

Yesterday afternoon I sat outside a pub for an hour in the sunshine. The entire time I was there, a man on the opposite side of the road, drinking cans of super strength cider, repeatedly shouted "Michael Jackson, he'll blow your fucking mind!", occasionally stopping to offer other observations, like "girl with nice legs!", or to wave at children. I feel like I should come up with some clever observation about this in relation to the death of the king of pop a year and ten days ago. I haven't, though. Except that maybe the true sign of being a star on a level higher than others is the point at which drunks start shouting your name in the street. Here are some things that are happening this week...

01: Prince to give away new album (again). Following on from the 2007 release of his 'Planet Earth' LP as a free gift with the Mail On Sunday, Prince will once again release a new record in the UK via a newspaper giveaway, this time with The Mirror. The tabloid will distribute 2.5 million copies of '20Ten' on 10 Jul, which will involve the paper increasing its circulation that day considerably. Various other publications will give away the album in Scotland, France, Germany and Belgium, though it is thought in the US the record will get a more traditional release.

02: CMU's Chris Cooke to discuss new creative business models at Visionary Sessions. CMU Daily's Business Editor Chris Cooke will be in Liverpool this Thursday to speak as part of a debate on the need for creative companies to embrace new business models in order to survive in the digital age. 'Visionary Sessions: Experimenting with New Business Models' takes place at the very lovely Parr Street Studios between 5.30pm and 8pm. Other speakers include Sentric Music's Chris Meehan, Sean Marley from Lime Pictures, Isobar's Dan Calladine and games industry consultant Nicholas Lovell.

03: MMF royalties training. As part of the MMF's ongoing music publishing training programme, the managers' trade organisation will tonight cover international collection societies and global royalty streams, unravelling this complex and often confusing area of the music business. Guest speakers include EMI Music Publishing's Neil Gaffney, PRS For Music's Director of International Karen Buse, BMI senior exec Simon Aldridge, SESAC's John Sweeney and ASCAP's Sean Devine. For more info email angela@mmf-training.com.

04: New releases. She may not shift as many copies of her new album as Prince will this week (having decided not to force it on tabloid readers), but I'd still expect Kylie Minogue to knock Eminem off the number one spot on Sunday with her new album, 'Aphrodite'. Also out this week is one of my favourite albums of the year, Fang Island's eponymous debut, plus Health's second remix album 'Disco2', the excellent new EP from Breton, 'Sharing Notes', which comes with a free circuit board that you can turn into a working synth, Grasscut's debut album, '1 Inch / 1/2 Mile', and the physical release of the eponymous debut EP from Trent Reznor's new band, How To Destroy Angels.

05: Gigs. Oh, there are some live music treats this week. Arcade Fire will be playing a 'secret' show at the Hackney Empire on Wednesday, Snoop Dogg will be at the Shepherds Bush Empire on Friday, The National will be at the Corn Exchange in Brighton on the same night for a sold out show, and ahead of all that on Tuesday Gilles Peterson will be bringing the live Havana Cultura experience to The Barbican in London. Tony Christie also makes his West End debut when he joins the cast of jukebox musical 'Dreamboats And Petticoats' tonight at the Playhouse Theatre. The picks of this week's festivals are Exit in Serbia, Oxegen in Ireland, the award-winning Lounge On The Farm in Kent, and Scotland's T In The Park.

Oh yeah, and it's the World Cup final on Sunday. I've not really watched much of it, but I am hoping to see Uruguay get a pasting they deserve from Holland tomorrow after what they did to Ghana last week.

Andy Malt
Editor, CMU Daily
Following the disintegration of their former band The Boggs, Jason Friedman and Eleanore Everdell decided to dust off a track they'd worked on a year earlier, using it as the basis for a new project, The Hundred In The Hands. To get things rolling, they shoved the song, 'Dressed In Dresden', online to gauge reaction. They were quickly contacted by Pure Groove, who wanted to release it as a single. That single led to a UK tour, which brought them to the attention of Warp Records, who will now release the duo's debut album in September.

Readers of CMU Weekly will already be au fait with The Hundred In The Hands' influences, as Friedman was responsible for last week's Powers Of Ten playlist, which features everything from Young Marble Giants and The Fall to Michael Jackson and Amerie. Initially aiming for the sound The xx eventually hit upon, Friedman and Everdell's music is now much meatier than that, although with many of the same sensibilities. They're on tour in the UK right now, go see them and watch out for a killer little disco track from the album called 'Commotion' (I love it so much it makes me feel a little bit sick when I hear it).


CMU's sister media ThreeWeeks, the biggest reviewer at the Edinburgh Festival, is looking for three people to join its team at this year's festival. These are paid roles, and provide an opportunity to be part of the flagship media at the world's biggest festival, and to support an acclaimed student media-skills initiative and cultural outreach programme. Although not paying massive fees, ThreeWeeks is an exciting project at the heart of the world's most vibrant cultural extravaganza, providing unique support for aspiring journalists and new cultural talent. A good time is had by all. All roles run from 1-29 Aug.

This is a role for someone with at least two years professional sub-editing experience. You will be supporting ThreeWeeks' chief sub-editor, and subbing and reworking both reviews and features. As the work you will be subbing will be written by participants on the ThreeWeeks student media-skills initiative you will also need to give feedback to the writers whose work you alter. This person can be based in Edinburgh or work remotely from any other location. It is a flexible part-time role, requiring four hours work daily from 1-29 Aug. Fee: £1000

This is a role for an organised person with experience of managing other people. You will manage the ThreeWeeks office in Edinburgh between 10am and 6pm daily (midday-5pm at weekends), looking after basic admin tasks, keep the space ship shape, and overseeing a team of student sub-editors and admin assistants. This is an Edinburgh based role, though accommodation may be provided if required. Fee: £800

This is a role for an organised person with lots of initiative, able to solve problems as and when they arise. You will be based partly in the ThreeWeeks office in Edinburgh, and partly on the ground overseeing the distribution and other logistics of ThreeWeeks' various media. You will run a street team, ensure people and products are in the right place at the right time, and fix technical or logistical problems as and when they arise. Some IT experience helpful but not essential. This is an Edinburgh based role, though accommodation may be provided if required. Fee: £800

To apply for any of these roles send a CV and covering note to recruitment@unlimitedmedia.co.uk.
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The team behind CMU's acclaimed seminars programme are now offering their services to music and media companies, educational bodies and membership organisations looking for bespoke professional training courses. CMU's existing courses on music rights, music business models, music PR, media and social media can be run specifically for an organisation's employees, students or members, or bespoke courses can be developed according to an organisation's specific needs. For more information contact Chris Cooke on 020 7099 9050 or chris@unlimitedmedia.co.uk.
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As expected, 6music has been saved, thanks mainly to the thousands of listeners, musicians, journalists, bloggers, tweeters and music industry types who responded with very loud anger at proposals published earlier this year by BBC management to shut down the digital radio service.

The Times predicted last week that 6's closure would be blocked by the BBC Trust, which had to approve the proposals set out in the BBC strategy document published earlier this year. It was thought the saving of 6 might be temporary, pending another consultation about the station's future, though the Trust's statement this morning suggests it is assured a long-term future. The Trust has called for a wider review of the Beeb's digital-only stations, but not with any specific emphasis on whether or not to close 6music.

The Trust was clearly overwhelmed by the Save 6 campaign. 50,000 people filled out the public consultation form regarding the strategy review, and 78% of respondents focused primarily on the proposals for 6. The Trust said that 6music was "non-commercial", "well liked", "highly distinctive" and "value for money". It also made the DAB radio network more attractive to consumers, a key aim of the BBC's digital output. It encouraged the BBC to invest its energies into boosting 6's audience rather than looking into ways to shut it down.

In a statement this morning, the BBC regulator said: "The Trust concludes that, as things stand, the case has not been made for the closure of 6music. The executive should draw up an overarching strategy for digital radio. If the Director General wanted to propose a different shape for the BBC's music radio stations as part of a new strategy, the Trust would consider it".

Although that last sentence gives BBC bosses the option to have another go at shutting 6, its more general wording will make it harder to do so. The closure of the Asian Network, though, seems more assured, with the Trust saying that, as part of that wider review of digital output "The Trust would consider a formal proposal for the closure of the Asian Network, although this must include a proposition for meeting the needs of the station's audience in different ways".

Many of the other cuts proposed by the BBC strategy review, including of non-core online services, were approved.

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Investors in Terra Firma have approved a resolution which will allow the equity firm to raise up to £500 million by selling shares in Maltby Capital, the company through which it owns music major EMI.

As previously reported, when Terra Firma was desperately trying to raise the £120 million EMI needed to not default of its loan commitments earlier this year, some sort of share sale was considered as one route for generating cash. One option was to spin EMI's recording and publishing divisions off into two separate companies, selling a big stake in the latter. Though with the recent appointment of EMI Publishing boss Roger Faxon to a new job overseeing the running of both recordings and publishing, it seems EMI is now making its two divisions more closely integrated, rather than preparing them to be split up.

Another option was to just sell shares in EMI to other companies or individuals. Really this would mean selling shares in investment vehicle Maltby Capital. Doing so would, of course, reduce the value of Terra Firma's own stake in EMI, and the future return for the equity group's financial backers. Though said backers have had to write off so much value on their portfolio of interests as a result of EMI's woes, I don't suppose that would make much difference.

In the end such a share sale wasn't needed to keep the bailiffs from EMI's door last month - Terra Firma's existing investors came up with the cash - but it seems the paper work has been done to allow a future share sale should it be needed.

According to the Mail On Sunday, Terra Firma investors approved a resolution recently that would allow Maltby Capital to sell up to £500 million in shares at any point up to 2015. Said resolution has been added to the holding company's files at Companies House. However, Terra Firma reps told the paper there were not immediate plans to instigate such a share sale, and that the resolution was simply a move to enable such a sale at some point in the future if it was required.

Insiders say EMI's flagging recordings division should be OK finance-wise until next June following last month's cash injection from Team Firma. Though that might depend, in part, of how big the previously reported hole in the EMI pension fund proves to be.

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I'm a bit confused, perhaps you can help me. How exactly does Island Records Senior VP David Sharpe feel about the new Tom Jones album, the first since his record company signed up the legendary crooner to a multi-million pound deal. You see, it's not at all clear how he feels from this email he seemingly sent around his team last week.

"Imagine my surprise", he told his staff, "when I walked into the office this morning to hear hymns coming from your office - it could have been Sunday morning. My initial pleasure came to an abrupt halt when I realised that Tom Jones was singing the hymns! I have just listened to the album in its entirety and want to know if this is some sick joke?"

He continued: "We did not invest a fortune in an established artist for him to deliver twelve tracks from the common book of prayer. Having lured him from EMI, the deal was that you would deliver a record of upbeat tracks along the lines of 'Sex Bomb' and 'Mama Told Me'. As venerable and interesting as Tom's story is, this is not what was agreed and certainly not what we paid for. Who put him with a 'folk' producer and who authorised that he should go off on this tangent...?"

He concluded: "Please don't give me the art over commerce argument, it's run its course... what are you thinking when he went all spiritual?"

As I say, really hard to work out what Dave thinks.

The Sunday Times asked Jones' manager for a response to the internal email penned by a senior player at his client's new record company, but the singer's rep said he was previously unaware of the memo so couldn't really comment, though he added "it's certainly very direct".

Meanwhile, Sharpe was quoted in some Sunday papers this weekend explaining his mini-rant thus: "Parts of this record company wanted to deliver an album for the typical Tom Jones fan and I don't know if that is what we got. Shall we say we've paid for a Mercedes - we've got the hearse that's arrived".

I wonder what the atmosphere is like at Island towers this morning. Bet the press team are really looking forward to having Tom in for interviews and such like. Meanwhile, the rest of you will have to wait until the end of the month to buy Island's hottest priority release of the summer, Tom Jones's 'Praise & Blame'.

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In an interesting op ed piece in the LA Times last week, Rich Bengloff of US independent label association A2IM criticises the recent ruling in the Viacom v YouTube case, and the Times' subsequent approval of said ruling.

As previously reported, a US judge recently ruled that YouTube was not guilty of infringing the copyrights of Viacom, even though the video site often hosted the media firm's content without a licence, because of the take-down system they operate, whereby they remove infringing content once they are made aware of it.

The most common interpretation of America's Digital Millennium Copyright Act is that such a take-down system is enough for services like YouTube to avoid liability for infringement, even if they do actually host infringing content for a time. That interpretation was upheld by the judge reviewing the Viacom v YouTube case.

As the dispute went through the motions, Viacom's argument focused in the main on the early years of YouTube's operations, and allegations that the take-down system during that period was too slack to satisfy the relevant provisions of the DMCA. Viacom also alleged that, prior to Google's purchase of YouTube, the take-down system was deliberately slow, because the service's owners recognised it was unlicensed content that drove most of their site's traffic. As it turned out, the judge considering the case didn't accept either of these arguments.

But when Viacom first sued YouTube, there was another element to the debate. That the US courts' previous interpretations of the take-down provisions of the DMCA have been totally wrong, because they put all the onus of monitoring sites like YouTube for infringing content onto the content owner, even though it's the video site that profits from the presence of such content between upload and take-down. Some argue that it can't be fair to make it the content owners' responsibility to monitor YouTube.

This is the main gist of Bengloff's article. He says that the ruling forces music creators to take on a second role as "internet police" just so they are compensated for use of their work. He continues: "YouTube adds 24 hours of new video content each minute of every day, much of it user-uploaded. There is no way for the creator community, in particular the independent labels in the American Association Of Independent Music that simply lack the resources, to monitor the amount of infringement taking place. User-uploaded infringements overwhelm any creators that object to the use of their copyrighted material on sites like YouTube, turning them from creators into full-time monitors that must send take-down notices".

He concludes: "Rulings such as the recent District Court judgment in Viacom vs YouTube favour internet services over creators and threaten our nation's rich culture of intellectual property creation. As the distributors of content, the services should be responsible for preventing infringements. They should license the music in the clips posted on their sites and fairly compensate the creators whose works they use to drive their businesses, rather than turning them into monitoring police or hobbyists simply happy to have someone see or hear what they've created".

YouTube would probably argue that their increasingly sophisticated automatic take-down system, whereby copyright owners can log their content and the video site's filters will theoretically filter out videos that contain that content, reduce the amount of work creators have to do monitoring their site for infringement. There has been little research into how effective said filters are.

Viacom are expected to appeal the recent ruling in their YouTube litigation.

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Apple are facing at least three lawsuits in relation to the iPhone 4's antenna problem.

As you have probably seen, after all the ballyhoo that surrounded the release of the latest Apple phone, many of the idiots who queued overnight to get their hands on the new device (don't these people know you should never buy IT products when they first hit the market, they never work) reported that the phone's mobile signal levels slumped if they held the phone in a certain way.

Apple were initially rather complacent about the fault, with Steve Jobs arguing that people were just holding the phone wrong. But before Team Apple had actually announced the launch of 'how to hold your mobile' classes at Apple Stores worldwide, the tech firm last week admitted it had found a bug which meant the iPhone sometimes said it had a stronger network signal than it really did.

It seems by holding the phone in a certain way the bug was rectified, which is why the signal appeared to fall. Or something like that. Conveniently the fault Apple admitted to is a software issue which can be fixed with an operating system upgrade that can be downloaded to the device. Which is much better than there actually being a structural fault with the phone itself, which could cost millions to fix.

But as Apple were admitting the bug last week, the antenna issue was going legal in the US. One lawsuit, filed on Tuesday last week, hopes to be a class action, meaning if Apple were to lose and damages be awarded to the claimant, anyone else affected by the bug would also be due damages. It sues both Apple and AT&T, still the iPhone's exclusive network in the US.

The lawsuit reportedly says: "The iPhone 4 manifests design and manufacturing defects that were known to defendants before it was released which were not disclosed to consumers, namely, a connection problem caused by the iPhone 4's antenna configuration that makes it difficult or impossible to maintain a connection to AT&T's network".

Apple are yet to respond to the lawsuit.

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The operators of a long defunct Finnish BitTorrent site called Finreactor have been ordered to pay 680,000 euros to various copyright owners as compensation for the file-sharing their website enabled.

The legal case against the seven people who created and ran Finreactor has been very drawn out, the site went off line in 2004 after a police raid seized a number of its servers. The legal action, instigated by a complaint by software companies Microsoft and Adobe, only reached its conclusion last week, with the defendants being found liable for infringement and the mega-bucks damages. It is not clear if the damages will go just to the companies who instigated the 2004 raid, or more widely to other companies whose content or software was illegally shared via the service.

According to TorrentFreak, 24 users of the service were also targeted by the authorities with charges of copyright crimes, with all but one found guilty and ordered to pay damages of several thousand euros.

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An online fund has been set up to help pay the hospital fees of Madina Lake bassist Matthew Leone who, as previously reported, is seriously ill after attempting to stop a man from beating up a woman in the street last week.

The attacker was beating up his own wife when Leone tried to intervene. The man then turned on Leone, beating the musician to a pulp before both he and his other half fled the scene. Leone needed a third of his skull to be removed in order to survive the injuries resulting from the beating.

Although Leone is now starting to recover from the incident, neither he nor his family have health insurance and the bill for the bass player's treatment is likely to be significant. An online campaign, supported by Pledge Music (who helped the band raise money earlier in the year to fund a new EP), has been set up to raise the cash needed.

Matthew's brother Nathan, also Madina Lake's frontman, wrote this weekend: "On behalf of Matthew, myself, our family and our extended ML family, we are absolutely floored by the compassion, love and support shown from people around the world. We've never experienced anything like it and to be honest, we're not even sure what we could say that would accurately express our gratitude and appreciation. I'll be posting a comprehensive update on Matthew's condition, prognosis and plans for the immediate future shortly".

He continued: "For now, many have so graciously inquired as to where any donations can be made to assist with medical expenses, etc (unfortunately, Matthew's health insurance expired a few months ago while we were on tour in Europe). Our management has helped organise a few options, should anyone feel they want to donate. We simply can't thank you enough for your generosity, compassion, love and amazing energy that has all been an integral part of Matthew's recovery. More soon, all the love in the world".

There is information on how to donate at www.pledgemusic.com/projects/madinalake

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Cheryl Cole has pulled out of 'The X-Factor' until further notice after collapsing from exhaustion during a photo shoot this weekend.

Reports suggest Cole was feeling ill before attending the photo session on Saturday, but nevertheless stuck to the appointment. According to The Sun, she fainted midway through, and was subsequently diagnosed as suffering from gastroenteritis and told to rest at home for at least a week, and to then only slowly return to work. Sources say that Cole has been working eighteen hour days since splitting from husband Ashley, and it seems her illness is probably the result of over work.

Work is already underway on the next series of 'The X-Factor', and according to the tabloid it is likely Cole will have to sit out at least one set of auditions, may be more, as a result of her enforced sick leave. Fellow judge Simon Cowell mocked the Girl Aloud for being tired at an X audition last week, telling the audience Cole was suffering from "a disease going around called 'hangover'", adding that she might be "sulky" as a result.

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Edward Grimes injured his leg yesterday while performing at the T4 On The Beach mini-festival in Weston-Super-Mare. After bouncing around shouting out the lyrics of 'Ghostbusters' and 'Under Pressure', the Jedward twin fell awkwardly and seemingly did some serious ligament damage (some reports go as far as to say he broke his leg). Despite clearly being in some pain, ever the show man, Edward got up and carried on. Well, when there's a Blink 182 song to be destroyed, duty calls.

Noticing his brother's pain John Grimes shouted out, "You've hurt your leg - are you alright man?" His twin responded, "I'm cool", though his pained face said otherwise. Fans of twins tunelessly shouting out the words of other people's songs and/or fans of pop stars carrying on despite clearly being in agony, should enjoy the video below. If you fall solely in the latter camp, you might want to skip to two minutes five seconds in. Meanwhile, here's wishing Edward a speedy recover.


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Richard Ashcroft has commended Stephen Fry for being so upfront about his bipolar disorder in recent years, saying the actor come telly presenter come national treasure has singled handedly helped to remove some of the stigma attached to mental illness.

Fry, of course, has spoken widely about his bipolar disorder, and made an acclaimed BBC documentary about his condition, and other forms of depression, in 2006. Ashcroft, who has long suffered from depression himself, told reporters recently: "I really admire Stephen Fry and love what he's done over the past few years in bringing mental illness into the open and tackling the stigma surrounding it".

While accepting that his own depression will never go away, Ashcroft says he is now able to deal with it without medication. He continued: "It [depression] will be with me for a lifetime. It's not something a magic wand can make disappear. But I've been lucky with music, my wife and my family. I've got really good support. I don't take medication now but I have in the past - but I'm better with natural endorphins. I used to joke with friends how the house I bought in the countryside saved me. But it did. Basic things like nature, the stream and a good walk helped me find my peace".

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The radio presenter who recently won an Arqiva Award for her 'Cancer Diaries' project has died from the disease she bravely documented for Oxford radio station JACK fm.

Ali Booker fell into radio by mistake, and had a long career with the BBC, working for local stations BBC Devon and BBC Oxford. She was first diagnosed with cancer in 2002, and subsequently with secondary breast cancer in 2006. Nevertheless, she carried on working and in 2008 joined Oxford-based commercial station JACK fm where she presented the news and a Sunday daytime show.

She also began appearing on the station's morning show discussing her cancer, a slot which became much acclaimed for its frankness and good humour. The 'Cancer Diaries' section won a Silver Sony earlier this year and was handed the Special Programme Of The Year Gong at the Arqiva Commercial Radio Awards last month. Booker had an audience beyond the reach of her radio station too, regularly writing about her life and treatment via a blog and Facebook page.

Her condition had worsened in recent months, so much so she wasn't able to accept her Arqiva award in person, but did send a video acceptance speech. She died on Thursday, aged 47.

Kevin Game, who fundraises for the Oxford hospice where Booker spent her final weeks, told the Oxford Mail last week: "Ali was a genuine inspiration to us at Sobell House. Her courage in refusing to be buckled by her illness and determination to continue to live her life to the full was astonishing. Not only was she a remarkable woman in her own right, but she was also a very good friend to the charity, helping us raise awareness of both Sobell House and hospice care in general. We will all miss her and our thoughts go out to her family".

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Muse picked up their Silver Clef award on Friday at the annual fund-raising bash held to support the Nordoff Robbins organisation.

As previously reported, the band previously declined to accept the prize, but this year agreed to take the honour. They also ensured that there was plenty of cash in the charity bowl by the end of the night, by bidding big money in the rock n pop auction part of the evening, and providing the most hotly contested lot for the auction, a signed custom-made Manson guitar. According to Music Week, the auction and a raffle raised £410,000 for the music therapy charity.

Queen's Roger Taylor and Brian May presented the award to the Muse boys declaring the trio "probably the greatest live act in the world today" and calling them "a magnificent, incredible group". Main Muse man Matt Bellamy said getting the award was an "amazing privilege and honour".

As expected, Scouting For Girls, Russell Watson and JLS were handed the Best British Band, Best Classical and Newcomer Silver Clef awards respectively. Also on the night Tony Bennett got a Lifetime Achievement gong and Vera Lynn an Icon Award. A Hard Rock Ambassador Of Rock prize went to Slash, while Dizzee Rascal got a Digital Innovation Award, for being digitally innovative presumably.

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50 Cent has dismissed rumours that he is about to sign to EMI's US division Capitol, shunning long term label Interscope. An EMI urban promotions man, Craig Davis, was quoted last week as saying the hip hopper was moving to his firm. But, Fiddy says, he has no intention of leaving Universal imprint Interscope who have released all his albums to date.

According to hip hop site SOHH, Fiddy told the G-Unit radio show last week: "That guy, I don't know what his name is, the guy that [said that], he's an idiot. Okay? And there's no deal done. He's an idiot - he's running his mouth. Out of nowhere he just comes out, you can tell he's a little drunk or some shit. [I am staying with] Interscope, all the success that I've had has been with Interscope".

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The marvellous Dan Le Sac Vs Scroobius Pip have just announced some tour dates for the Autumn. Frankly, if you don't take the opportunity to attend one of these shows, you're officially insane. Tickets go on sale to members of the duo's mailing list on Wednesday, and then to the wider world on Friday.

Tour dates:

14 Oct: Hatfield, The Forum
15 Oct: Leicester, Academy
16 Oct: Birmingham, HMV Institute
17 Oct: Bristol, Academy
19 Oct: Cardiff, Solus
20 Oct: Leeds, Stylus
21 Oct: Newcastle, University
23 Oct: Glasgow, QMU
24 Oct: Aberdeen, The Warehouse
26 Oct: Manchester, The Ritz
27 Oct: Sheffield, Plug
28 Oct: Nottingham, Ultra
30 Oct: Southampton, University
31 Oct: Brighton, Concorde 2
1 Nov: London, Shepherds Bush Empire

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Ticket registration for Glastonbury 2011 has already opened, so don't go saying we didn't tell you. It's not clear when tickets for next year's event will actually go on sale or how much they will cost, but people who want to secure the right to buy one should sign up at glastonburyregistration.co.uk.

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ALBUM REVIEW: The Drums - The Drums (EMI/Moshi Moshi)
Who are these Drums, then? Who is this guy, trying to sound a bit like a post-punk throwback? Sometimes I try to stay true to the mantra 'don't believe the hype', but, as cynical as the opening of this review is, I actually quite like this band's album. It's hardly unique, what with bands like Surfer Blood and Foals already doing this kind of thing (and probably better), but it's catchy as hell and, I said it already - I bloody well like it, okay?

First things first, 'Lets Go Surfing' drives me bananas, but opener 'Best Friend' has a lovely, summer-in-1980 beat that's quite Cure-ish and, together with the Jesus And Mary Chain-esque 'Down By The Water' and 'We Tried', makes up for the forgettable rotten apple (and 'Skippin' Town' which to me just sounds the same).

With a bit of luck, the Brooklyn band's follow-up will be less faddy, and will cater less to the expectations of cookie-cutter indie kids, and they'll go all Horrors on us and release a gem that is worthy of their talents and our ears. TW

Physical release: 7 Jun
Press contact: Anorak

Buy from iTunes
Buy from Amazon

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US universities are expected to step up their efforts to stop students from illegally file-sharing as a result of the country's Higher Education Opportunity Act, one element of which is only just going into effect.

With file-sharing always particularly prevalent among students, and with many students using their university as an ISP, the college sector was always a target of the Recording Industry Association Of America when it was running its 'sue the fans' programme to try and stop online piracy. Some colleges played ball and introduced measures to try and stop their students from using their uni net connections to file-share. Others resisted, and adopted a stance more like commercial internet service providers, insisting they couldn't be held liable for the actions of their users, ie their students.

But the responsibilities of universities regarding policing piracy have been stepped up in the US, not by new copyright legislation, but by new higher education laws. Colleges that fail to introduce measures to reduce online copyright infringement amongst their student bodies could face having their federal funding cut.

The 2008 legislation went into effect last week, and forces all universities and colleges to "effectively combat the unauthorised distribution of copyrighted material by users of the institution's network". The new law adds that this should be achieved without hampering a student's legitimate use of the internet for research, which basically means copyright enforcing measures must accommodate fair use provisions which allow students in certain circumstances to access copyrighted material without a licence. But said provisions don't cover downloading Lady Gaga and the new 'Shrek' movie via LimeWire.

Despite some universities resisting initial efforts to turn them into piracy police back in the day, the new measures that went into force last week haven't proven overly controversial, which most in the higher education sector now seemingly accepting they must take on this role. Of course whether the new measures will actually have any impact on levels of file-sharing among American students is another matter entirely.

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Following an admission last week by BBC Trust boss Michael Lyons that he was now of the opinion the Beeb should reveal what it pays its on-screen and on-air talent, one of the Corporation's top presenters has said a lot of that talent has to accept they are being paid too much.

Lyons has long backed BBC management who have resisted numerous attempts, mainly by political types, to force the Corporation to reveal what it pays actors, DJs, presenters and such like, in much the same way it reveals what executives get paid. BBC chiefs have long said revealing talent pay would contravene confidentiality clauses included in most presenter contracts, and would also make future talent reticent about working with the Corporation. Lyons previously agreed, but said in a speech last week that he now accepts the Beeb can no longer keep talent pay packets secret in the long term.

Already some in the talent, and particularly talent agent, community have started criticising any moves by the BBC to make such information public, now or in the future. It's thought many who oppose the move do so not out of a fear of the public backlash that may occur when the size of their fee is revealed, but more out of a fear of embarrassment when rivals realise they are actually getting paid a lot less than most people thought.

Meanwhile, Terry Wogan this weekend told the Mail On Sunday BBC talent had to accept the era of mega-buck deals is over in British television, especially licence-fee funded TV. He told the paper: ''If they're going to start cutting working people's wages, you can't say you're in a privileged position because you work in television. Frankly, salaries were far too high. They could stand to take a 10-15% cut. If the public sector is taking that, I see no reason why everybody shouldn't".

He added: ''The good old days have passed. You have to be responsible. The audience would be unhappy if they thought you were being overpaid. Look how the public reacted to, say, Jonathan Ross. People are worried where their hard-earned money is going, and the BBC is a visible target".

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You know, I much preferred Katy Perry when she was just some girl gaily throwing around references to homosexuality, like a child who'd just discovered the concept. Now that she's some knowing pop star, quickly rushing through the I-Spy book of hip hop stars you simply must work with if you want to get ahead (Timbaland - tick, Snoop Dogg - tick) she's losing that certain something that initially made her stand out. Of course, it doesn't help that 'California Gurls' is a fucking awful song either. But what do I know? That particular fucking awful song is at number one for the second week in a row.

New entries on the Top 40 this week come in the shape of 'I Like It' by Enrique Iglesias at four, 'Rescue Me' by Skepta at fourteen, 'We No Speak Americano' by Marco Calliari at 26, 'Somebody To Love' by Justin Bieber at 33 and 'Prayin' by Plan B at 36.

Over in the album chart, that Eminem is also holding on to the top spot for a second week (and he hasn't even worked with Katy Perry, how does he do it?), forcing the Scissor Sisters to stop at number two.

Scissor Sisters are the only new entry on the album chart this week, but the Glastonbury effect is in full effect, with 'Plastic Beach' by Gorillaz up to twelve from last week's 24, Muse's 'The Resistance' bobbing back up to thirteen from 62, Stevie Wonder's 'The Definitive Collection' moving up to sixteen from 56, while Ellie Goulding, Biffy Clyro and Vampire Weekend all reappear at the tail end of the chart.

The charts are compiled by The Official Charts Company. Numbers 25-35 are this week guest rapped by Snoop Dogg.

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That ugly, talentless, tuneless wanker Caleb Followill has admitted he gets upset by bad press.

In an interview with Q, the Kings Of Leon frontman admitted: "A lot of people talked bad about my songwriting at the start, especially in America. They made us out to be a joke band and I spent the rest of my career trying to prove them wrong. I get online and I read what people are saying and if people say something negative, man, it really hurts me".

Oh Caleb, don't be hurt. We actually think you're tuneful, talented and beautiful. Still a wanker. But a tuneful, talented and beautiful wanker. No, only joking, I'm sure you're very nice, despite what everyone says.

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Andy Malt
Chris Cooke
Business Editor &
Caro Moses
Georgina Stone
Editorial Assistant
Paul Vig
Club Tipper
Mark Thompson
Head Of Silly Ideas

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