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CMU Info
Top Stories
Live Nation US looking to cut up-front pay outs to talent
Colin Greenwood on Radiohead's next move
In The Pop Courts
Zutons frontman in court for assault
Pop Politics
Pirate Party fails to win seats in Swedish election
Awards & Contests
Karkwa win Polaris Prize
EMA noms out
BASCA announce badge winners
Release News
Joe McElderry announces new single
Dermot O'Leary announces Saturday Sessions compilation
Books News
Scott Weiland to publish autobiography
Gigs & Tours News
Coldplay and Jay-Z booked for Vegas New Year show
Marnie stern adds London dates to tour
!!! and The Hundred In The Hands to tour
Festival News
Reeperbahn Festival line-up complete
Album review: Phosphorescent - Here's To Taking It Easy (Dead Oceans)
Brands & Stuff
GU Medicine complete Jagermeister penguin collaboration
The Music Business
BMG buy Evergreen
The Digital Business
Bands re-record songs for new Sims game
And finally...
Lennon stuff
Chuck Norris to thank for Osmonds' dance moves

Hailing from Sydney, Australia, the band released their debut album 'Make Me Love You' in 2005. Their mix of post-rock and electronica caught the attention of legendary UK label Warp Records, to which the band signed in 2008. Later that year they released follow-up 'O Soundtrack My Heart' and only a month after its completion the three members were back in the studio working with engineer Burke Reid. Juggling recording between studios in Sydney, London and Paris, those efforts eventually became 'Church With No Magic', their new LP released this month via Warp. With the album out, and with a performance at the Reeperbahn Festival this Friday, we put the Same Six to drummer Laurence Pike.

Q1 How did you start out making music?
I started when I was ten. I wanted a drum kit so badly, but my mother wanted me to play guitar like my brother, I assume she didn't want the noise. I begged her for months and she finally bought me a beaten up old kit. I played it every day for a couple of hours and after about a year I think her and the neighbours realised I was really serious.

Q2 What inspired your latest album?
All sorts of things. This album was very much about intuition, and letting go. I think we wanted to make something we felt represented where the three of us were at as band and as people, especially after eighteen months of touring and developing our dynamic as a group. Our inspiration was to take a leap into our unconscious and see where we landed. I'm guessing our next album will be about the opposite of that. What matters most is doing our own thing, and keeping one eye on the door.

Q3 What process do you go through in creating a track?
It can vary, some of the tracks on this album started as a demo between a couple of us then we bounced them back and forth quickly between each other. Others kind of just appeared from improvising in the studio. We tend to use jamming on tape quite often as a creative spark, starting with something as simple as a tempo or a sound or sample and fleshing it out. We might take a 25 min improv thing and then find 4 min that we felt was worth developing, either by re-recording or expanding again through overdubbing. Then it's usually a matter of fine tuning and trying to find the heart of the matter. Mix, master, have a drink.

Q4 Which artists influence your work?
We are all pretty avid listeners, to all sorts of stuff, and we're always recommending things to each other. Although the artists that seem to be common favourites between all three of us tend to be from the mid-late 70s. Brian Eno, David Bowie, Suicide, Talking Heads, Cluster, Iggy Pop, Caberet Voltiare, that sort of stuff. But really, there were tracks in the sessions that I would say were influenced by everything from Roy Orbison to Ricardo Villa Lobos.

As far as contemporary artists that we're into... hmm... John Maus comes to mind immediately. We're mindful of not just imitating people or wearing our influences on our sleeves though, that seems to happen a lot in indie music, with pretty predictable results. I think we're influenced by the prospect of finding something new to say, or new ways of doing things.

Q5 What would you say to someone experiencing your music for the first time?
Close your eyes, breathe real heavy-like, let the sound wash over you like a giant warm spongebob. You are the most beautiful and powerful person in the room.

Q6 What are your ambitions for your latest album, and for the future?
It would be nice if in a year's time we are still enjoying playing the tracks and feel like the album continues to have it's own life and grow outside of our direct control, let it make some new friends, see the world, that sort of thing.

The future is a weird one. I guess I'd like to be able to continue to be in a position where we can focus on making records and touring them. We're already thinking about the next album creatively. There's an amount of uncertainty that you have to learn to except as an artist, because the nature of your work is personally all encompassing, but at the same time seasonal, and then determined by both your efforts and the subjectivity and whims of complete strangers. It doesn't make any sense at all, you've just got to put your head down and get on with it sometimes.

MORE>> pvtpvt.net

PVT AT REEPERBAHN: Knust at 11.10pm on 24 Sep
Fronted by singer and main songwriter Malin Dahlström, Niki And The Dove is name you may have seen flashing up in various places of late, generally accompanied by gushing praise. The band released their debut single, 'DJ, Ease My Mind', last month through Moshi Moshi's singles club, which is generally a pretty good indicator that something is worth checking out. And in this case, that theory is fully confirmed.

A forlorn song pleading for the present to be blocked out by a happier past, but disguised as one which could be mistaken for euphoric, 'DJ, Ease My Mind', and Niki And The Dove's music in general, shares many similarities with fellow Swedes The Knife, particularly in Dahlström's vocals, but delves much further into pop.

On the flipside of the single, 'Under The Bridges' starts sweet before descending into a electronic freakout, stretching what should have been a three minute song to nine. But somehow it really works. Check out the accompanying videos for both tracks on YouTube, and write this name down in your little book of bands to keep an eye on.


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Hmm, live's the future of the music industry they used to say. Well, it's no secret that the bubble has burst for the live sector in the US, and Live Nation has suffered more than most, with investors still rather panicky about the live music conglom's short-term future, despite assurances from the top guard there that the company is now set to meet its albeit lowered financial projections for the current financial year.

Still keen to bring investors round, Live Nation chief Michael Rapino addressed an audience of American City types last week and told them of one of the ways he plans to ensure his company turns things around in 2011: cutting costs by reducing the upfront payments paid out to artists.

According to Ticket News, Rapino admitted that the slump in live entertainment ticket sales that occurred earlier this year surprised him and his fellow Live Nation execs, but added that the whole experience should have been something of a wake up call for artists, managers and booking agents too - "the big, upfront paydays of the past are over".

Rapino: "Have we started [negotiations] by saying we're not going to pay you that much because we don't feel we can sell enough tickets at that amount? And, is that leading to us getting some push back [from artists]? Yes. But, are we getting closer to the deals we want? Yes".

Of course, the UK live industry has not suffered the slump that has occurred Stateside. Yet. Whether UK promoters should be prepared for a similar downturn, and what they might do to prevent that from happening, is the topic being debated at a MusicTank Think Tank event later this week in London - details at www.musictank.co.uk/events/improving-the-live-experience.

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In an essay written for the Index On Censorship, Radiohead bassist Colin Greenwood has spoken about how the band might approach their next release, following the 'pay what you like' scheme used to promote last album, 'In Rainbows', in 2007.

Saying that they have "yet to decide how to release our next record", Greenwood notes that "traditional marketplaces and media are feeling stale - supermarkets account for around 70% of CDs sold in the UK, the charts are dominated by TV talent-show acts - and we are trying to find ways to put out our music that feel as good as the music itself. The ability to have a say in its release, through the new technologies, is the most empowering thing of all".

However, he concedes that innovating in this way can have its downside: so much interest was focused on the manner in which 'In Rainbows' was released that the actual record itself was overlooked by many. He writes: "For all the giddy prognostications, the most important reason for the success of 'In Rainbows' was the quality of the music. I think this was overlooked, but without the great songs that we were proud of, the online release would have counted for nothing. I am optimistic that if you make good work you can secure the patronage of your fans"'.

He adds that, despite the focus on online activity, it's important to remember the more traditional routes of music discovery: "I'm unconvinced that the internet has replaced the club or the concert hall as a forum for people to share ideas and passions about music. Social networking models such as Twitter and Foursquare are early efforts at this but have some way to go to emulate the ecosystem that labels such as Island drew upon, the interconnected club and studio worlds of managers, musicians, artists and record company mavericks, let alone pay for such a fertile environment".

And despite the apparently acrimonious split from EMI when the band's contract expired, Greenwood nonetheless remembers the company with some fondness, saying: "I miss the editorialisation of music, the curatorial influences of people like John Peel or a good record label. I liked being on a record label that had us on it, along with Blur, the Beastie Boys and the Beatles".

Read Greenwood's essay in full, here: www.indexoncensorship.org/2010/09/radiohead-copyright-freespeech-music/

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Zutons frontman Dave McCabe was in court yesterday to face charges relating to a fracas which resulted him in breaking another man's nose. The incident happened in February outside Liverpool's Korova venue after a group of five men insulted his girlfriend.

According to the BBC, one of the five men in the group suggested that the fur collar of McCabe's girlfriend's coat made it look like she had a beard. She overheard this comment and reacted angrily. McCabe then approached the men and headbutted one of them, Peter Appleby, breaking his nose.

Prosecution lawyer Ben Morris told the jury at Liverpool Crown Court: "[Appleby] never made the remark but he was laughing because he thought it was funny. McCabe came over and headbutted Mr Appleby, causing him a broken nose".

Giving evidence, Appleby said that the comment was not made with the intention of being overheard by McCabe or his girlfriend and accused her of "over-reacting" when she did. He said that McCabe then approached him and his friends in an "aggressive" manner "and then he lunged towards me and headbutted me". He added: "I was stunned when he headbutted me. I looked down and all I could see was blood".

However, McCabe claims that he acted in self-defence after he was surrounded by the five men and feared that he was about to be attacked.

The case is due to continue today, when McCabe is expected to give evidence.

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The Swedish version of The Pirate Party has failed to win representation in the country's parliament after reportedly securing less than 1% of the overall vote in the nation's latest general election.

As previously reported, the Swedish version of the political organisation, which supports a radical revamp of copyright laws, took 7% of the Swedish vote in last year's European elections, giving them seats in the European Parliament.

To get a seat in the Swedish national parliament the party would have needed 4% of the vote, considerably less than they won last year but rather a lot more than they achieved in this week's Swedish general election.

Last year, of course, the party was buoyed by the publicity that surrounded the trial of The Pirate Bay Four, at which many web-users and younger voters felt the founders of the rogue file-sharing website were unfairly treated. Plus, minority interest parties invariably do better in European than national elections, partly because many voters don't really care too much about who represents them in Brussels and Strasbourg.

Had The Pirate Party got a seat in the Swedish parliament they would have used it to push for copyright reform in the country, and to speak out against the introduction of increased online protection for rights owners. They also suggested they'd use their party privileges to host Wikileaks and The Pirate Bay on the parliament's own servers, which would give them protection from some Swedish laws.

Commenting on the result, Pirate Party leader Rick Falkvinge told TorrentFreak: "The Swedish Pirate Party did its best election campaign ever. We had more media, more articles, more debates, more handed-out flyers than ever. [But] unfortunately, the wind was not in our sails this time, as it was with the European elections".

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So, Karkwa last night won the Polaris Prize, which is basically a Canadian version of the Mercury Prize. The indie rockers from Montreal beat Caribou, The Besnard Lakes, Tegan And Sara and Broken Social Scene to win the twenty grand prize money with their album 'Les Chemins De Verre'.

On winning the prize, the band said: "That's weird, that's very strange. We're holding a cheque for $20,000 and we don't understand anything".

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The noms are out for this year's MTV Europe Music Awards, and if you don't believe me, you are going to feel very silly in fourteen seconds time. This year's EMAs will be held in Madrid on 7 Nov.

Here are the non-country-specific (ie, it's mainly US artists) noms:

Best Pop: Lady Gaga, Usher, Katy Perry, Miley Cyrus, Rihanna.

Best Live Act: Bon Jovi, Lady Gaga, Muse, Kings Of Leon, Linkin Park.

Best Male: Eminem, Justin Bieber, Usher, Enrique Iglesias, Kanye West.

Best Female: Lady Gaga, Katy Perry, Miley Cyrus, Shakira, Rihanna.

Best New Act: Ke$ha, BoB, Jason Derulo, Plan B, Justin Bieber.

Best Alternative: Gorillaz, Gossip, Paramore, Vampire Weekend, Arcade Fire.

Best Hip Hop: TI, Eminem, Kanye West, Lil Wayne, Snoop Dogg.

Best Song: Usher - OMG, Katy Perry feat Snoop Dogg - California Gurls, Eminem feat Rihanna - Love the Way You Lie, Rihanna - Rude Boy, Lady Gaga - Bad Romance.

Best Video: 30 Seconds To Mars - Kings and Queens, Katy Perry - California Gurls, Lady Gaga feat. Beyonce - Telephone, Plan B - Prayin, Eminem feat Rihanna - Love The Way You Lie.

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The British Academy Of Songwriters, Composers And Authors has announced details of its Gold Badge Award winners for 2010. These are the music types that BASCA think are dead swell, and who really deserve some sort of button badge to put on their jacket to say so, but one made of gold. The awards go to songwriters and composers, performers and producers, and people working behind the scenes in this biz they call show.

Says BASCA Chairman Sarah Rodgers: "There are few awards in the music business which give such unqualified pleasure as a Gold Badge. The awardees are an exclusive community who know that they are all respected, admired and cherished. A Gold Badge conveys so much that would otherwise be left unsaid. It says, what you do for us songwriters and composers is remarkable and has not gone unnoticed; it says, we couldn't do it without you; and it says, you are the best!"

Here are this year's winners. I'd give you a bit of background about the ones you're not familiar with, but I don't know which ones they are, and I don't want to go to lots of effort researching a mini-biog for someone it turns out you're best mates with, especially when we're running late as it is. So, if you're unfamiliar with any of these, may I suggest Wikipedia?

Winners: Howard Blake, Tom Bradley, Geoff Foster, Lesley Garrett, John Paul Jones, Julian Joseph, Tony Moore, Chris Shurety, Heather Small, Phil Swern, Clare Torry, Paul White and Brian Willey.

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I reckon that at least once a week someone will say to me: "What ever happened to Joe McElderry?" Often they say this with a knowing look in their eyes that says: "Rage Against The Machine destroyed him with their awesome guitar power". Well, glinty-eyed people, you are wrong. Joe may not have released anything since last year, but he has not been suffocated with a plastic bag made of political raps.

What's that? Get to the point? Oh, okay. Joe McElderry is set to release his second single (or his debut if, like me, you don't count 'X-Factor' winners' celebration singles as actual singles). Called 'Ambitions', it's a cover of a song originally recorded by Norwegian popsters Donkeyboy, and is taken from McElderry's debut album 'Wide Awake', which is due for release later this year.

Joe says this: "I'm so excited that my single is finally here and ready to go. 'Ambitions' is a song that reflects me and is different to what I think people might expect. I can't wait to begin performing it".

Have a listen here: youtu.be/7RcD559oaZQ

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Dermot O'Leary will release a compilation of session recordings from his Radio 2 show next month. 'The Saturday Sessions' feature a variety of artists performing covers and stripped back acoustic versions of their own songs. Featured on the album are Lily Allen, Massive Attack, Ellie Goulding, Katy Perry, Paolo Nutini, Florence & The Machine and more.

Says O'Leary: "The Saturday Sessions is my favourite part of the show. It's a privilege to hear such a diverse and brilliant range of artists singing songs you wouldn't necessarily associate with them, which makes these performances so unusual and special. This album has really fuelled my passion for live music".

The compilation is due for release on 4 Oct through Sony Music.

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Stone Temple Pilots frontman Scott Weiland has announced that he will publish his autobiography next year. Co-written with David Ritz, who has previously collaborated on books with Ray Charles, Marvin Gaye, BB King, Aretha Franklin, Etta James and more, it will give an insight into Weiland's lengthy battle with drugs and alcohol, as well as his time as frontman of Velvet Revolver.

Entitled 'Not Dead & Not For Sale', it will be published in the US by Simon & Schuster on 8 Mar.

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Coldplay and Jay-Z are set to co-headline a glitzy New Year's Eve bash in Las Vegas, which is very exciting. I know where I'm going to be this New Years. Crewe.

The two acts will play the US city's new Cosmopolitan casino and resort, which will be staging its grand opening over Hogmanay.

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When Marnie Stern recently announced a UK tour, it was alarmingly devoid of London dates. Thankfully, she's now added not one, but two dates in our nation's capital, which is very good news.

If you're wondering why this is such exciting news, download 'Transparency Is The New Mystery' from Stern's forthcoming eponymous third album and bask in its glory forthwith, here.

The updated tour dates are as follows:

18 Nov: Nottingham, Bodega
19 Nov: Brighton, Audio
20 Nov: Bristol, Thekla
21 Nov: Sheffield, The Harley
22 Nov: Glasgow, Captain's Rest
23 Nov: Manchester, The Deaf Institute
25 Nov: London, Hoxton Bar & Kitchen
26 Nov: London, The Lexington

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!!! have announced that labelmates The Hundred In The Hands will support them on their upcoming UK tour, which is a line-up too good to miss. !!! released their new album, 'Strange Weather, Isn't It' back last month, while The Hundred In The Hands' brilliant eponymous debut is out this week.

Here are the tour dates:

29 Oct: Manchester, Manchester Academy 2
30 Oct: Glasgow, Classic Grand
31 Oct: Liverpool, Stanley Theatre
1 Nov: Leeds, The Cockpit
2 Bristol, Anson Rooms
3 Brighton, Concorde 2
4 London, Koko

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The CMU supported Reeperbahn Festival kicks off in Hamburg on Thursday, and the final bill for the live element of the proceedings has been published, with Donovan - who will also speak at the convention part of the event - confirmed to perform.

Also now confirmed are Cee Lo Green, Edwyn Collins, Marina And The Diamonds, Frank Turner and James Yuill joining a line up that already included Blood Red Shoes, Band Of Skulls, This Will Destroy You and Wolf Parade.

CMU will be in Hamburg covering the convention side of the proceedings from Thursday. If you're there, look us up!

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ALBUM REVIEW: Phosphorescent - Here's To Taking It Easy (Dead Oceans)
Phosphorescent is the recording name of the much less glamorous sounding Matthew Houck, a singer-songwriter in the Will Oldham mould, blurring the lines between folk and alt-country.

'Here's To Taking It Easy' is Houck's fifth studio album, hot on the heels of last year's 'To Willie', which was a mild diversion into covers territory that often seems to be the way for numerous independent artists (Cat Power and Okkervil River are amongst two who've done this). A tribute to Willie Nelson, it demonstrated the influence more conventional country music has on the more 'hip', rock-orientated take on the genre.

Houck returns to his day job, so to speak, with full band in tow, fleshing out his sound and giving it more substance. Never is this more apparent than on the opening track, 'It's Hard To Be Humble (When You're From Alabama)'. Underpinned by driving guitar and a horn section, Houck makes his stylistic intentions clear. This is up-tempo, 'Born To Run' era Springsteen-esque rock!

Elsewhere, 'Nothing Was Stolen (Love Me Foolishly') - Houck is fond of titles with parentheses - is back in more standard territory, using double tracked vocals to create an effect that isn't too dissimilar from the alt-country harmonies of Fleet Foxes. Meanwhile, the likes of 'Mermaid Parade' and 'Tell Me Baby (Have You Had Enough) weave melancholic tales of bruising romantic experiences but never feel contrived.

Although Houck still retains a desire to unleash his inner rock musician, as he does on the six-minute electric epic, 'Los Angeles', it's probably still with the more subtle moments that he impresses most and he probably does about enough to distinguish himself from the rest of what is already a densely populated field. KW

Physical release: 6 Sep
Press contact: Create Spark

Buy from iTunes
Buy from Amazon

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You might remember that back in July we reported on an unusual collaboration between rock band GU Medicine and Ricky, and emperor penguin from London Zoo. Brought together by Jagermeister, the band and penguin headed down to Strongroom Studios in Shoreditch (because where could this happen other than Shoreditch?) last month and have now put the results of their efforts online.

GU Medicine's Ryan Senior said of the recording session: "When I was younger I visited London Zoo and saw the penguins but I never imagined that one day I would actually get the opportunity to record a song with one of them! I thought feeding them would be the closest I ever got! Ricky certainly wasn't microphone shy, in fact he actually tried to eat it! He squawked his vocal part like one of the true greats!"

Speaking on behalf of Ricky, one of his keepers at London Zoo, Adrian Walls said: "Ricky has a big personality as visitors to our zoo and staff will testify, and although he had never worked with a music group before he was on top form".

Listen to and download the track they recorded here: soundcloud.com/jagermeister-uk/gu-medicine-ricky-the-rockhopper-penguin-ice-cold

And watch them in action here: youtu.be/iIvqkMFbcVc

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BMG Rights Management just keep on buying things. By which I mean other companies. Their latest acquisition is Evergreen Copyrights which includes the publishing rights in songs recorded by Eric Clapton, Nick Drake, Tupac and, more importantly than all that, MC Hammer.

Says BMG boss Hartwig Masuch: "Evergreen is known for its successful rights acquisition track record. With this large catalogue of 65,000 titles we have further strengthened our position in the top four players in global music publishing". Which almost makes sense.

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Bands and artists including Flo Rida, My Chemical Romance, Hot Chip, School Of Seven Bells and 3OH!3 will re-record songs especially for the new console-based version of videogame 'The Sims 3'. The new versions of their songs will see them singing in the made up 'Simlish' language, used by the game's characters.

EA's Steve Schnur explained: "'The Sims' may be one of the biggest and best-known brands in popular culture today and for a major artist to be asked to re-record their music in 'Simlish' has become one of the most unique and exclusive opportunities in the world of entertainment".

'Sims 3' will be released on the PS3, Wii and Xbox 360 consoles later this year. The artists and songs featured in the game will be these:

22-20's - Latest Heartbrea
3OH!3 - Double Vision
Aceyalone and RJD2 - Ever Seen This
Aeroplane - We Can't Fly
Alpha Rev - Phoneix Burn
Cody Simpson - IY IY IY
Crash Kings - You Got Me
deadmau5 - Some Chords
Flo Rida feat Jovi - Fresh I Stay
Free Energy - Free Energy
Hot Chip - We Have Love
Innerpartysystem - American Trash
Jasmine V - All Of These Boys
Jessica Mauboy - Saturday Night
John Butler Trio - Gonna Be A Long Time
Kidz In The Hall - Flickin
Lazee feat Apollo Drive - Calling Out
Mickey Factz - Dreamland
Ozomatli - Are you Ready?
School Of Seven Bells - Dust Devil
The Dirty Heads - Stand Tall

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I've often thought it was shame John Lennon didn't live to see the internet. One of the first artists to see the creative and political potential of mass media and the rise of the global advertising industry, one can only imagine what he'd have made of the net and all the on going developments in the digital world, even if he would have been 70 next month.

Yoko Ono agrees, telling Andrew Marr on his BBC show last weekend: "I think he would have been going very strong and creative, still, and I think he would have been very interested in playing [on] the computer because he always jumped on some new media and that is a very interesting new media".

Talking of all things Lennon, his son by first wife Cynthia, Julian Lennon, has made peace with his step-mother Yoko and half brother Sean, telling the media that "things are good" between the three of them.

Relationships between Lennon's two families were not great even when the former Beatle was alive, and went legal in estate disputes once he'd died. But Julian told the New York Post recently: "Things are good between us. Whenever I'm in New York we all get together. Sean even asked me to shoot his album cover - for free, of course".

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One of the many Osmond brothers who isn't Donny, Alan Osmond, has revealed that the band used karate moves they had learned from Chuck Norris in their 70s dance routines to make them seem less like girls.

In a video posted on the Osmond family's official website, Alan said: "[I said to Norris] 'Chuck, we need to toughen up our dance. Can you help us?' And he said, 'Well let's learn some karate, and you can apply the moves, 'cos there's stomps, and hoo, yeah!' You know, it was very boyish, and that's what we wanted".

Stomps and 'hoo' are widely considered to be the least girlish of all physical movements.

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Andy Malt
Chris Cooke
Business Editor &
Caro Moses
Paul Vig
Club Tipper
Tom Aldridge
Russell Brand
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