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CMU Info
Top Stories
No more Galaxies or Dragons - Global roll out Capital FM
BIS confirm 75/25 costs split for UK three-strikes
In The Pop Courts
Marley family lose Universal lawsuit
Charts, Stats & Polls
Libertines reunion the defining moment of festival seasons 2010, apparently
Reunions & Splits
Dismemberment Plan reform
Mani apologies for Hookie rant
Artist Deals
Mogwai to work with Sub Pop in US
Release News
DJ Shadow to preview new tracks through random vinyl giveaways
Gigs & Tours News
Lykke Li plays heaven
Leftfield tour
Deadmau5 tour
Festival News
Electric proms line up takes shape
Live review: Zola Jesus at CAMP Basement in London on 1 Sep
The Music Business
Pledge appoint US A&R
Slicethepie announce partnership with Fontana
The Digital Business
YouTube move into live streaming
The Media Business
Radio DJs go international again
And finally...
Former X winner crushed by label drop
PETA hit out at Gaga's second meat costume

Losers, aka DJ, producer, radio presenter and CMU columnist Eddy Temple-Morris and former Cooper Temple Clause man Tom Bellamy, originally made their mark on the music world with bold remixes of Rage Against The Machine and Candi Staton. But this year they've become increasingly known for their original works, thanks in no small part to the astonishing video for their debut single, 'Flush', which has now been passed around the world wide web several times. With the duo's debut album, 'Beautiful Losers', out this week via Gun Ho! Recordings, we caught up with Eddy to find out more.

Q1 How did you start out making music?
I went to a 'cattle-market' audition a long time ago. My friend Nigel Templeman drove me there, like a dad driving his son to school for the first time. We'd found out that two of my childhood heroes (I'd just left school at this point) were looking for a bass player. They were Aki and Buzz from Southern Death Cult (later The Cult) and at the time they were called Getting The Fear and signed to RCA. I got the job and that's when the business of making music professionally started. At this point it would be ten years before I saw my first radio studio. And an odd coincidence that I found myself, aged nineteen, in a band signed to the same label that my Loser-husband, Tom would, at the about same age, be signed to about a decade later.

Q2 What inspired your latest album?
First and foremost, we wanted to make an album that was timeless. I hated the idea that someone could listen to our record and be able to pinpoint the exact time that it was made. I remember us resisting the temptation to make it sound like the really cool things around at the time: The bass scrunches of early dubstep or the wowowowow of a Hervé or Jack Beats tune. So many artists fell into that trap and their work sounds so dated as a result. We wanted to make something that sounded classic and epic. Both Tom and I discovered dance in the 90s, and it's that glorious 90s sound, when producers really started to push the sonic envelope, to experiment and to throw out the purist-dance rulebook, that influenced us the most.

Q3 What process do you go through in creating a track?
For the first half of the album, the pattern was that I'd come up with a guitar riff, or keyboard hook, or even an entire track, and Tom would get it recorded and improve it with his ideas and expertise in the studio. I'd go to Bleak House, the old Cooper Temple Clause studio in Berkshire, and we'd work for a day, then I'd leave the track with Tom and he'd add a layer of pixie dust to it and make it shine brighter. That was so much fun, discovering our 'sound'.

Then after we'd made about half a dozen tracks, Tom started bringing his own songs to the table and the roles we're reversed somewhat. Tom would bring one of his instrumental tracks, usually pretty heavy, aggressive electro, and I'd help soften it, rearrange it, perhaps give it a hook or help with a vocal idea (that's how 'Flush' came about). Tom had an innate understanding of how to make electronica that rocked so we made a formidable team.

The Jane's Addiction cover was easy. I always wanted to do an electronic version of 'Summertime Rolls', and Tom not knowing the track gave us an advantage, as it was fresh for him and he could help tackle it without any baggage.

Q4 Which artists influence your work?
This first Losers album was (personally speaking) directly or indirectly influenced by Liam Howlett, Jagz Kooner, Killing Joke, The Cocteau Twins, Mansun, Leftfield, Massive Attack, Robert Miles, Kris Menace, Alex Metric, Adam Freeland, Justice, SebastiAn, Underworld, Jane's Addiction, Super Furry Animals, and Steph and Dave Deweale from Soulwax.

Q5 What would you say to someone experiencing your music for the first time?
Listen to the whole album, from start to finish. It is an album, in the old skool sense, not a collection of songs randomly put together. 'Three Colours' was written as the start of the album. 'Azan' was written as the middle track, to give you a break from all the bangers. 'Summertime Rolls' was covered to let you down gently at the end.

Turn your stereo up. Turn your phone and computer off. Let yourself get lost in the layers of sound, and if you like it, make sure you come see us play live. You need to see Tom in his element, don't forget he was the most brilliant member of the most underrated band of the noughties.

Q6 What are your ambitions for your latest album, and for the future?
Our label boss, Matt from Gung Ho!, loves this record so much it's overwhelming. He just wants it out there, so people can discover it for themselves and cuddle it and grow to love it. It's a loveable record.

Ambitions wise, while we have realistic expectations, it'd be nice to emulate the success of our label-mates, and Matt's protégés, The Japanese Popstars. Personally, I'd like to see the record come out in places like Japan, Australia/NZ and America, and to take the live show over there. That would be the next dream realised: I've been on UK Tour with The Prodigy and Pendulum, but if we got a gig in Japan, I'd be able to die happy.

Tom, of course, has played all over the world already. On his birthday, girls in Japan make a cake in the shape of his face!

MORE>> www.facebook.com/losersuk, plus read Eddy's CMU column online at eddysays.theCMUwebsite.com
Fran Barker is a little bit special. This is something I was reminded of a couple of weeks ago while sorting through a pile of papers in my flat. About half way through the pile, I happened upon a demo CD by Seeräuber Jenny, aka Fran Barker, and suddenly I realised why emails I'd recently received about her debut single had triggered a niggling feeling in the back of my mind that I'd heard of her before. This CD was out on its own, away from all the other demo CDs because, as soon as it was out of the envelope, I'd earmarked it as something worth paying extra attention to.

Slipping the disc into my CD player, this feeling was confirmed again, and I cursed myself for letting it disappear under a pile of bank statements for so long. But, hey, my decision to finally clear that stuff up turned out to be perfectly timed, because her debut single, 'Push It Away' (the first track from that demo) is set for release through Label Fandango on 27 Sep. Newly spruced up by former Mint Royale man Neil Claxton, Barker's acoustic pop is sounding better than ever, and happily retains the very pleasing intonation of "I am" on the chorus of the song.


Galaxy FM is no more people, or it will be come 2011. Global Radio is scrapping its Galaxy brand and will rename the six stations that currently operate under that banner as Capital FM stations, a name which will make perfect sense for local radio stations in, erm, Manchester, Birmingham and Newcastle.

Still, the Scottish outpost of Galaxy does broadcast in Edinburgh, which is a capital city. And another British capital will be in the new Capital Network too, because four of Global's remaining local FM stations will also be rebranded, including Cardiff's Red Dragon FM.

This is the latest downsizing of Global's radio brand portfolio, as the radio major prepares to operate in what could become a much more competitive market if and when internet radio comes of age. Previously, a stack of the local FM stations operated by Global predecessor GCap were morphed into Heart stations, both in name and format.

This latest roll out of what was GCap's biggest pop radio brand around the country will result in the demise of the Galaxy call sign, which has existed somewhere in UK radio ever since 1990. And some even older radio names will disappear too, including Trent FM, Leicester Sound, Ram FM and the aforementioned Red Dragon FM.

It will be interesting to see how the new look Capital FM sounds, given Galaxy was designed to have a more youthy, urbany, dancey feel to its output compared to the more traditional pop FM approach of the likes of Capital, Trent and Red Dragon.

Assuming the current Capital FM format - as heard in London - is used, it will see Global more directly compete with the other pop FM stations (mainly Bauer-owned) in some other key cities, including Forth One in Edinburgh, Clyde 1 in Glasgow, Key 103 in Manchester and BRMB in Birmingham. Ironically Global only relatively recently sold BRMB, to Orion Media, as a regulator condition of its takeover of GCap.

Programmes-wise, only peak time breakfast and drive time shows will be produced locally on the Capital Network, with the rest of its output coming out of Global's HQ on Leicester Square, London. That said, many of the effected stations already took quite a bit of networked programming, hence how Global can claim the revamp will only result in a handful of job losses as far as presenters are concerned.

Confirming the upcoming rebrand, Global main man Ashley Tabor told reporters: "It seemed like a natural extension to move it [the Capital brand] on and make it a national brand while keeping it really locally focused in each of the areas. While we have had a lot of success with the Heart rebrand this is a different challenge and we have to make sure the name is correctly launched in each area. People know the Capital brand stands for quality and it can do things other brands can't do. We are the capital of hit music, that's how we view the brand. We are spending a lot of time and money to make sure we do it really well".

It's interesting to second guess what this might mean for Choice FM, the London black and urban music station that came to Global when it bought GCap in 2008. At the time it was thought Choice would be slowly rebranded as a Galaxy station, the Galaxy network lacking a London frequency. That hasn't happened, although elements of Choice's output have arguably moved in the direction of the Galaxy format in the subsequent two years. With the Galaxy network now no more and with Capital FM already a London station, does that mean Choice is safe?

Or, given Global, as of January, will basically be operating four national (or quasi-national) radio networks - Heart, Capital, Gold and Classic FM - should we worry for the future of those remaining Global services that only broadcast in one or two cities - so Choice, LBC and Xfm? Or are they distinct enough brands to justify a place in the Global portfolio, brands which will stand out when - as internet radio takes off - all stations are national. Time will tell I guess.

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The government's Department For Business Innovation & Skills has finally got round to publishing its report on the financing of any three-strikes system for combating file-sharing and, as expected, proposes that rights holders who utilise the system should cover 75% of any costs. The rest will be paid for by the internet service providers whose users are (allegedly) file-sharing.

As previously reported, the 75/25 costs split was proposed when the Digital Economy Act - which lays the groundwork for three-strikes - was working its way through parliament earlier this year, though the BIS has been consulting stakeholders on the costs issue since the Act became law.

The content industries were lobbying for their share to be lower, arguing that it is the ISPs who profit from file-sharing (in that it is a useful tool for selling higher-speed broadband packages, of course ISPs would argue that they lose out from file-sharing too, because file-sharers tend to use more than their fair share of bandwidth). However, it's been known for some weeks that the BIS was likely to stick with the 75/25 costs share.

Perhaps more interesting, therefore, is the confirmation that those accused of file-sharing through the three-strikes system will not be charged a fee to appeal any claim made against them. There were fears that if file-sharers did have to contribute to costs if they chose to appeal those who will inevitably be falsely accused would be unfairly treated.

Of course, the percentage splits aren't much help to anyone without an indication of what the actual costs of running three-strikes will be. As previously reported, OfCom are still preparing their latest report that will set out how other aspects of the 'graduated response' system for targeting file-sharers will work.

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The family of Bob Marley has lost a legal action against Universal Music over the ownership of five of the late reggae star's most legendary albums.

The musician's widow Rita and nine of his children sued in relation to the copyrights in the master recordings of 'Catch A Fire', 'Burnin', 'Natty Dread', 'Rastaman Vibrations' and 'Exodus', all released by Island Records, now a Universal division, of course. They made various claims relating to the original contracts between Marley and Island, and subsequent arrangements made between Universal and the Marley estate, some relating to royalty payments and the right of veto over certain licensing arrangements, others to the nature of Universal's claim of ownership of the recordings to start with.

On that latter point, a judge last week ruled conclusively in the record company's favour, saying that, under the contracts Marley entered into in the 1970s, the recordings in question were "works made for hire" under the US copyright law of the time, and that Island Records (so, therefore, now Universal) were the designated owner.

New York Judge Denise Cote said: "Each of the agreements provided that the sound recordings were the 'absolute property' of Island". One argument used to question the legitimacy of Universal's ownership was that Marley probably would have made the albums with or without Island Records' involvement. But Cote said that was irrelevant. Because Island's contract gave them the right to accept or decline Marley's output, and they accepted, ownership undisputedly lay with them.

Needless to say, Universal welcomed the ruling, the Marley family are yet to comment.

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The extensive research I did about The Libertines's reunion at the Reading and Leeds festivals last month (I surveyed seven whole people) discovered universal disappointment, but none of the people I spoke to, seemingly, then went online to fill out the festival poll on NME.com.

According to a poll of about 4000 of the music weekly's readers, the reunion of Doherty and Barat on stage was the "defining moment" of the 2010 festival season. And before you think, "well they were all clearly high", apparently not. 73% of those festival-goers surveyed said they didn't take any drugs at this summer's music events. Though they were probably all pissed or mashed up on sugar and caffeine.

Of those 27% on the drugs, cannabis was, predictably the most used narcotic, followed by ecstasy, MDMA and methadrone, though that's if you don't count so called "legal highs" in the count, which you really should. I mean, I read somewhere (was it the Daily Mail?) that they're very very risky and should all be banned. Especially spinning round in a circle. It's basically the end of civilisation as we know it.

Perhaps aided by the aforementioned Libertines love, Reading and Leeds were named Best Festival by those surveyed, despite Guns N Roses' disastrous headline sets being declared the "letdown of the summer". Camden Crawl was the most rated small festival, The Libertines' 'Don't Look Back Into The Sun' was the anthem of the seasons and The Strokes were the band everyone wants to see headlining events next year.

They don't half conform to their stereotype these NME readers, do they? Next they'll be demanding an Oasis reunion next summer. Oh look, they did.

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American indie types Dismemberment Plan will reunite for the first time in over seven years next January to promote the vinyl reissue of their 1999 album 'Emergency & I' (which, while we're on the subject, is brilliant album that you should listen to right now).

They will play at least five gigs in the US as part of the reformation, but will stick to the Andy Malt Rules For Just About Acceptable Pop Music Reunions (aka The Shoreditch Convention) and will not record any new songs. Bassist Eric Axelson told Click Track: "We're not planning a new record. But we're doing these shows and taking it day to day after that". Yeah, you're right, that's not a complete commitment to the Convention. We might have to send in an envoy.

Axelson admitted that, while the reissue of 'Emergency & I' has been in the pipeline for over a year, the reunion tour was not originally part of the plan. But all four band members found themselves at the home of drummer Joe Easley and "we thought, 'Let's go into the basement and play a little bit'. That felt kind of good".

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Oh, this is no fun. Mani has apologised for his rant last week in which he accused Peter Hook of having a "wallet stuffed with [Joy Division frontman] Ian Curtis's blood money".

As previously reported, former Stone Roses and current Primal Scream bassist Mani had been collaborating with former Joy Division and New Order man Hook in the bass-centric supergroup Freebass, which was officially dissolved last week. Mani tweeted his Hookie rant around the same time as the official announcement that Freebass was no more was released.

But since then, Mani has removed his diss tweets and issued a statement which reads: "I wish to apologise unreservedly to Peter Hook and his family regarding comments made on a social networking site, which was totally out of character for me. It was a venomous, spiteful reaction to a lot of things that are going on in my life right now and I chose to vent my frustrations and anger at one of my true friends in this filthy business, and ventured into territory which was none of my concern".

He continued: "The Freebass thing has tipped me over the edge and became the focus of my bilious rants. 22 years of being tripped up, face down in the mud and being kicked in the face with an iron boot will do that to the most stable of men. I hope I haven't blown a great friendship forever. Sorry Pete".

Despite the seemingly acrimonious split of Freebass, their probably one and only album, 'It's A Beautiful Life', is still set for release on 20 Sep. On that album, Mani wrote: "In a funny way my outburst might make want people want to check the record out. I'm proud of what we achieved really. It's not often bass players get to step out of the shadows and create something from scratch, and between us we've managed it. A bumpy ride but we got there... give it a listen".

Hook has issued his own reconciliatory statement, saying: "Mani is a great friend of mine and he always will be. I have the utmost respect for him as a person and musician. Have none of you ever fallen out with somebody you love?"

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Mogwai have announced that their next album will be released in the US via Sub Pop Records. The move sees the Scottish band end their American relationship with Matador. On that, the band said in a posting on their website that "they remain great friends of the band and we want to thank them for everything they have done for us over the last eleven years and wish them all the best for the future".

The new album will be released over here on Rock Action Records and in Japan via Hostess.

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DJ Shadow is previewing tracks from his next album - not due out until next May - through a series of free downloads plus some vinyl-only limited edition releases available from selected record shops in the UK and US, and random record shops elsewhere in Europe.

As I understand it, Shadow's people will visit record shops near where he is gigging in European cities and just randomly leave some copies of tracks 'Def Surrounds Us' and 'I've Been Trying' on vinyl for more hardline fans to find and confused record shop owners presumably to sell (or possibly give away).

Says Shadow: "The idea is 'shop-placing;' it's the opposite of shoplifting. You go into a store, and leave your record in the racks to be discovered later. It's not about being cute, it's about passing the music along in the most unobtrusive way possible".

You can also get the two tracks as free downloads from Shadow's Bandcamp page until later today: djshadow.bandcamp.com

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Swedish poppy indie type Lykke Li is coming to London to sing songs and stuff. She'll perform at Heaven in London on 4 Nov.

Of this and some other European dates, the lady herself said: "To celebrate my survival and the fact that life on stage is easier then in the real world, I've also decided to go back on the road for a short little rendezvous before I finish my LP. Don't you dare miss it! I'm gonna play you a lot of new songs".

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Want a Leftfield gig to go to this November? Well, my, are you going to feel happy when you read the next sentence. Leftfield are going on tour this November. Says one half of the electronic duo (and the only half you'll see on stage) Neil Barnes: "The reception we received over the summer at the festivals was amazing. Now we can't wait to get out there again this autumn and bring the full Leftfield Live experience to the rest of the country. Let the bass roar".

Dates below, tickets from Friday, info here: www.leftfieldtour.co.uk

18 Nov: Leeds, Academy
19 Nov: Manchester, Apollo
20 Nov: Glasgow, Barrowlands
21 Nov: Glasgow, Academy
25 Nov: Liverpool, University
26 Nov: Bournemouth, Academy
27 Nov: Plymouth, Pavilions
2 Dec: Bristol, Academy
3 Dec: London, Brixton Academy

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Deadmau5 with Zane Lowe, Magnetic Man, Stanton Warriors, Kim Fai and Calvin Harris being a DJ is on the menu here. Though we'd recommend not eating them. If they're taking fashion tips from Gaga you might be able to eat what they're wearing, though you might want to cook it first. And clean it. Anyway, yes, Deadmau5 will be on tour in December. Which of those support acts you get depends on where you live, dates as follows.

8 Dec: Bournemouth, Academy - Deadmau5, Kim Fai
9 Dec: Leeds, Academy - Deadmau5, Kim Fai
10 Dec: Manchester, Central - Deadmau5, Zane Lowe, Magnetic Man
11 Dec: Coventry, Ricoh Arena - Deadmau5, Zane Lowe, Magnetic Man
17 Dec: Glasgow, Braehead Arena - Deadmau5, Zane Lowe, Magnetic Man, Calvin Harris
18 Dec: London, Earls Court - Deadmau5, Zane Lowe, Magnetic Man, Stanton Warriors

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The BBC has announced some details about this year's Electric Proms, which have suspiciously been rebranded the Radio 2 Electric Proms, confirmation the once BBC-wide musical initiative has been downgraded somewhat. Still, they've got some big names.

Elton John will play on 28 Oct, with support from Leon Russell, Rumer and Plan B, while on 29 Oct Robert Plant will take to the stage with Band Of Joy and The London Oriana Choir. The concerts will be aired on Radio 2, with some footage appearing subsequently on BBC Two and online.

More info at www.bbc.co.uk/radio2/electricproms/2010/

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LIVE REVIEW: Zola Jesus at CAMP Basement in London on 1 Sep
A couple of hundred gig-goers stuffed into a tiny basement underneath an arts cafe makes for a very sweaty and cramped night, something that young Arizona-born Nika Danilova - also known as Zola Jesus - found out as she bravely climbed offstage to sing amongst the crowd.

This gig was about as intimate as gigs get, and I fear it may be one of the last shows this young lady will play in such a small venue. Already garnering a ton of whispers of excitement amongst music lovers and critics alike, the opera-trained singer is destined to move beyond tiny gigs and support (she has just finished touring with none other than the excellent Fever Ray).

Synthy, dark and intense, the kind of music that Zola Jesus plays is reminiscent of the great days of swampy gothic rock, when Siouxsie Sioux was queen and Christian Death, The Cure and Red Lorry Yellow Lorry were the posterkids of choice. As I uttered under my breath to my companion prior to Ms Danilova's appearance onstage, it felt like I'd fallen into the scene of a Poppy Z Brite novel (which, my sixteen year-old self told me, is not a bad thing at all). Personally, I would compare Zola Jesus' dramatic, dark operatic sound to that of a lesser known now-defunct band Switchblade Symphony, who I urge you to check out if you haven't already.

Danilova hammered through a dozen songs without a peep or a pause, making her way through the excellent 'Stridulum II' and peaking with probably her most recognisable and commercially successful track 'Night'. Her voice shook me with how strong it was - over a barrage of loud synths and pulsing drum loops, she didn't drop a note or lose any of her seductive swagger. Beautifully strange and strangely beautiful; catch her before she's huge. TW

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Fan funding website PledgeMusic has appointed a US A&R chief who will recruit and work with American artists considering or using the fan-funding approach to finance their musical projects. The hire is Rose Noone, who has previously worked with the likes of Seasick Steve, The Enemy, Macy Gray and Howie Day.

Pledge MD Malcolm Dunbar told CMU: "We are delighted to welcome Rose to the PledgeMusic team. We have plans to develop our US presence over the next twelve months and the experience and track record of success that Rose brings with her will add real value to our operations there".

Noone herself added: "This is a fantastic opportunity for me to apply my skills in an exciting and fast evolving environment. I have been extremely impressed with how quickly PledgeMusic have established themselves at the forefront of the direct-to-fan sector and look forward to working with them to further develop the company's offering in the US".

The first American artist who will work with Noone to raise funding through Pledge is Grammy-nominated Tracy Bonham. Noone previously signed Bonham to Island Records US back in the mid-nineties.

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Talking of fan-funding, which you were, just there, Pledge rivals Slicethepie have announced a partnership with Universal Music's Fontana Distribution company, which works for and with a stack of indie labels.

Through the partnership, Fontana will make is label partners aware of a selection of the best bands raising finance through Slicethepie each month. The bands most rated via Slicethepie's analytics service SoundOut will also be featured in the label briefings.

Slicethepie boss David Courtier-Dutton told CMU: "With over five million consumer reviews submitted to date, Slicethepie has proved to be a highly effective audience powered filter. Fontana has recognised the power of this discovery process and we're delighted that they have decided to put the weight of the Fontana organisation behind the very best new artists".

Fontana Distribution's VP Marketing & Label Relations, Bryan Mead, added: "Fontana is pleased to partner with Slicethepie and offer artists within their network the chance to work with our many labels in North America, we look forward to getting the music to their fans".

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YouTube are in the process of adding a universal live-streaming service to their platform, according to reports.

Although the Google-owned video site has done live-streaming before, it has generally been restricted to big special events. Now YouTube seems set to compete with Ustream, the video service that lets anyone with a webcam stream live, and which has been used by a number of bands and labels as a marketing tool.

First YouTube is stepping up the amount of live streaming content they provide through partnerships with professional media outlets - this week in the US with Howcast, Next New Networks, Rocketboom and Young Hollywood.

More such partnerships are due to take place later this month and, insiders say, the eventual aim is to open the live streaming option out to everyone.

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Radio 1 have announced a new series of their documentary programme International Radio 1, which follows DJs from the station and sister service 1Xtra as they travel the world being paid to play records. Along the way they report on the music and culture of the cities and countries where they find themselves. DJs featuring this time include Nihal, Rob da Bank, Robbo Ranx, Ras Kwame and Jaymo & Andy George, while countries visited include Sri Lanka, Warsaw, Ghana, Jamaica and Croatia.

Confirming the return of the programme, Radio 1's Joe Harland told CMU yesterday: "Over the past three years International Radio 1 has taken listeners on a remarkable musical journey. For the new season, I'm delighted that we're travelling wider than ever before - be that visiting the emerging clubbing hotspot of Croatia, or Nihal taking us to his beloved Sri Lanka, providing a unique insight into the new music emerging in studios and bedrooms across the planet".

The programme will air on Mondays at 9pm from 1 Nov.

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Former 'X-Factor' winner Leon Jackson has told Reveal magazine that he found out he'd been dropped by Simon Cowell's Sony Music imprint through a newspaper report. He says he felt "crushed" by the major's decision to drop him last year because his debut album 'Right Now' had, in his eyes, done quite well, even if it did fail to top the charts.

Says Leon: "It was higher than Oasis and only behind Kings Of Leon, Kaiser Chiefs and AC/DC. It sold 150,000 copies and went gold, but to Sony it wasn't good enough. It was a crushing moment [being dropped] especially when, to my eyes, I hadn't done anything wrong".

Perhaps if ITV don't manage to persuade Simon Cowell to do a 2011 series of the telly talent show there's a programme worth making called 'X-Factor Dropped' in which the less successful former finalists of the format bitch about the record industry. I'd watch that.

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While noting that they probably shouldn't rise to the bait that is the latest Lady Gaga stunt, and admitting it may as yet turn out that all that meat wasn't real, PETA have again expressed their unease at the Gaga's decision to wear a dress made of beef to MTV's VMA Awards this weekend.

The animal rights group had already criticised Gaga for wearing a bikini of meat on the cover of the Japanese edition of Vogue Hommes magazine before she donned even more animal flesh for MTV's big awards show.

On the latest meat costume, PETA boss Ingrid Newkirk said: "In her line of business, Lady Gaga has a hard time being 'over the top', and wearing a dress made from cuts of dead cows is offensive enough to bring comment, but someone should whisper in her ear that there are more people upset by butchery than impressed by it-and that means a lot of young people will not be buying her records if she keeps it up".

She added: "Meat is the decomposing flesh of an abused animal who didn't want to die, and after being under the TV lights, it would smell like the rotting flesh that it is and likely be crawling with maggots - not too attractive, really".

Lovely. As a meat eater, I don't suppose I can justify getting too offended about the Gaga outfit on animal rights grounds but, can I just say, what a waste of perfectly good meat. Hmm, steak for dinner I reckon.

In related, though meat free news, also criticised for his costume at the VMAs this weekend was Black Eyed Pea Will.i.am. He wore all black, and darkened his already pretty dark face with black body paint. This, according to some, was racist. Can the whole world just take an hour off to look up what "racist" actually means? I refer you to last week's CMU Weekly, and our editor's discussion of the most recent Morrissey incident.

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Andy Malt
Chris Cooke
Business Editor &
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Paul Vig
Club Tipper
Lady Gaga
Costumes & Catering
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Floor 3 Unicorn House, 221-222 Shoreditch High Street, London, E1 6PJ.

UnLimited Publishing also publish ThreeWeeks, ThisWeek in London and CreativeStudent.net.

UnLimited Creative provides design, content, digital and communication services.

UnLimited Insights provides media, music and communications training.

UnLimited Consulting provides music, media, culture + youth expertise.