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CMU Info
Top Stories
Terra Firma v Citigroup: Chocolate biscuit anyone?
In The Pop Courts
Joe Jackson wants up to $500 million from Murray lawsuit
Ari Up dies
Awards & Contests
Good night for Tinie Tempah at MOBOs
BASCA Gold Badges handed out
In The Studio
Cheryl and Travie team up
Release News
U2 album coming "sooner than anybody thinks"
Black Kids bassist duets with indie stars
Gigs & Tours News
Three and Spotify team up for live shows
Cloud Control announce tour dates
Single review: Ou Est Le Swimming Pool - The Key (Fire & Manoeuvre)
Talks, Debates & Conventions
CMU's acclaimed music rights course returns
Music Mind Exchange to discuss future funding
Brands & Stuff
Motorhead re-record Ace Of Spades for Kronenbourg
The Music Business
Will 2011 be the year of the access model in music?
The Digital Business
Victory man defends quicky anti-piracy video
The Media Business
Celador Radio asks OfCom for format change on recent Bristol acquisition
And finally...
Kanye to circumvent artwork ban with multiple covers
Christina not dating Ronson (Sam that is)

Restless People is former Don Caballero and Storm & Stress bassist Eric Emms and Professor Murder members Michael Bell-Smith, Jesse Cohen, and Tony Plunkett. They came together after Emm produced the acclaimed 'Professor Murder Rides The Subway' EP back in 2006. They've worked on various projects together since, and last month released their first album under the Restless People moniker, on IAMSOUND Records. We caught up with Plunkett to find out more.

Q1 How did you start out making music?
Making music has been a part of all of our lives for as long as we really cared about things. The four of us have known each other for years, and have been collaborating on different projects for as long.

Q2 What inspired your latest album?
The internet, jeans, shoes, car repair, jobs, barber shops, sports, relationships, style, seltzer, pretzels, appropriation, beer, positivity and reality. We weren't following a formula, but we consciously set out to try to make a specific kind of album, something that could incorporate a lot of different strains of pop music from the last 30 years, while sounding new.

Q3 What process do you go through in creating a track?
Our studio is like a clubhouse. We get together and hang out, but instead of playing cards or pool, we make records. Live, we have roles and play instruments, but in the studio it's more organic, everyone taking turns with instruments, electronics and computers. We like to either spend way too much time on a song or hardly any time at all. PRO TIP: Never spend the right amount of time working on a song.

Q4 Which artists influence your work?
Misremembered bands from when we were teenagers. Bands from when we were five that we can't believe no one ever told us about. Bands with only one good song. Bands with only three songs total. Also - General Public, DJ Cleo, The Belle Stars, Phil Collins, Maximum Joy, Gorilla Biscuits, Operation Ivy and Nelly Furtado.

Q5 What would you say to someone experiencing your music for the first time?
Enough about us. What do you do?

Q6 What are your ambitions for your latest album, and for the future?
We hope there's songs on the album that will make people think a little differently about music. We hope people will put songs from the album on playlists in between songs we really like. We hope checking out the album will be a step for someone to get into some really new, interesting stuff. We hope someone puts our music on when they're about to do something really fun, important or life-altering. Or maybe when they're getting ready for work.

In the future, we want to keep trying to make good songs and be true to ourselves. If we're lucky, push things forward an inch or two. Maybe, in 2030, get on a 2010's power pop compilation (if compilations still exist in 2030). Also, we'd like to coin the term "Seltzer Beat". You heard it here first.

MORE>> restlesspeople.com
Youthless are another band ringing in our ears after In The City last week. Not, however, because we saw them play, as we unfortunately had to leave Manchester before they took to the stage, but because people kept telling us we should see them perform. As an alternative, we tracked down a copy of their debut single, 'Golden Age', which was released this week - the first record to be put out by new label One Bird Records.

Although the duo hark from New York and London respectively, they're now based in Portugal, where they've already made a bit of a name for themselves. It seems the Portugese go for a blend of garage-rock and disco that knows its way around a cowbell. And I see no reason why they shouldn't.

The band have gigs in London pretty much every night of the next week, starting tonight at The Lock Tavern in Camden, and ending next Friday at the New Cross Inn, so there's really no excuse for not checking them out if you're based in our nation's capital.


So, Gary, you remember with vivid detail the three phone conversations on which your entire lawsuit hangs, and the fact that you asked for chocolate biscuits as you planned your audacious bid for EMI back in 2007, but you can't recall anything else about the meetings you had with your own team of executives in which you discussed a £4 billion deal? Isn't that just a little bit odd?

Not my words, people. Well, yes, my words. My attempts to have the leader of equity firm and EMI owners Terra Firma rebranded as Gary 'The Guy' Hands haven't really come to much. So those are my words, but what I mean is I am paraphrasing the arguments of Citigroup legal man Ted Wells - or "the banker's Teddy" as I'm thinking of dubbing him - during day three of the Terra Firma v Citigroup litigation in the New York courts yesterday.

It was Hands' second day on the witness stand and this time he was facing questions from the opposition.

They are trying to convince the jury that Gary is just a bitter old man pissed off that his remarkably good run of 'buy it, revamp it, sell it at a profit' acquisitions hit a brick wall when he bought EMI in 2007, costing him and his rich mates millions and leaving him saddled with a company worth half what he paid for it, with debts a billion more than he could sell it for, and which requires a hundred million a year in subsidy just to stop it breaching covenants on one bank loan. To be fair there's a lot to be bitter about in that lot.

But, crucially, Citigroup argue that it is that bitterness that is behind Hands' decision to sue his former allies in his big money deals, the bank to which EMI still owes three billion.

As previously reported, Terra Firma's case against Citigroup relies on three phone calls that Gary claims took place between him and Citi's top investment banker David 'The Worm' Wormsley over the weekend before the equity group made its over-the-odds offer to buy what was then EMI Group plc. Gary says The Worm misled him regards the intentions of a rival bidder, forcing him to bid quickly and at a relatively high offer price. Had Wormsley not been misleading, Hands says, he'd not have bid at that price, or possibly not at all.

Citigroup and Wormsley deny the phone calls took place. Terra Firma has already admitted that none of its own paperwork from the days leading up to their EMI offer, of which there is a lot, references these calls. With that in mind, Wells focused his questioning yesterday on just how certain Hands could really be that certain that these conversations had actually taken place, mainly by questioning him in some detail about other events that happened as Team Terra Firma planned their bid back in 2007.

Hands, as it turned out, had only a sketchy recall of the crucial weekend, remembering where he was (Guernsey), how close a plane was to the airport hangar where some of the discussions took place, and that at one point he had asked for chocolate biscuits. And, of course, that he had taken three phone calls from David Wormsley in which the banker lied about the intentions of a rival bidder. But Hands' description of the rest of the proceedings were at best vague, and on at least one occasion contradictory.

Wells: "The only thing you can remember is the conversation with David Wormsley and chocolate biscuits?"

Hands: "That is correct... in detail".

Wells: "But when it comes to a meeting about putting up £4 billion, you don't recall anything".

Hands: "Going through 160 pages of a report is not memorable".

The case continues.

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Michael Jackson's father Joe is looking for up to $500 million in compensation in his previously reported wrongful death lawsuit against Dr Conrad Murray, which seems rather optimistic.

Murray, of course, is accused of being negligent in administering the shot of surgical anesthetic Propofol that ultimately killed Jacko. The singer was taking the drug as a cure for insomnia. The criminal case against the Doc is ongoing, but Jackson Snr has already launched civil proceedings, based on the fact his son was providing him with financial support at the time of his death despite the two men's famously fractious relationship.

According to TMZ, Joe Jackson's legal papers demand damages of between $10 million and $500 million, which seems like quite a large margin. He says he is due damages not only because his son's death cut of a source of financial income, but also for the emotional distress and "loss of comfort and companionship" caused by Michael's untimely demise.

Murray denies liability for Michael Jackson's death, and even if he was found at fault in Joe Jackson's civil case, his people say the doctor has no money and that his insurance company are unlikely to pay out on this one either.

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Ari Up, frontwoman with seminal punk band The Slits, has died aged 48.

Up, real name Ariane Forster, formed The Slits in 1976 aged just 14. An all-girl group, they were a breath of fresh air in the male-dominated punk scene, and quickly built up a reputation for their unpredictable and, at the time, outrageous live shows. Two albums followed, 1979's 'Cut', complete with topless cover shot, and the 1981 follow-up 'Return Of The Giant Slits'.

The band split in 1981, and Forster, her husband and children spent some time living in Indonesia and Belize among the indigenous communities in those regions. She continued to make music, though. Both as part of the New Age Steppers and as a solo artist under various monikers, though it was as the former frontwoman of The Slits that she remained most famous. She reformed the band in 2005 with a new album, 'Trapped Animal', following last year.

Up's death was confirmed yesterday by another punk legend, John Lydon, who is married to Forster's mother. A short message on Lydon's website reads: "John and Nora have asked us to let everyone know that Nora's daughter Arianna (aka Ari-Up) died today (Wednesday, 20 Oct) after a serious illness. She will be sadly missed. Everyone at JohnLydon.com and PiLofficial.Com would like to pass on their heartfelt condolences to John, Nora and family. Rest in peace".

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So, it was the MOBO Awards in Liverpool last night, with JLS and Tinie Tempah dominating, picking up two awards each, the former for Best UK Act and Best Album, the latter for Best Video and Best Newcomer. The complete list of winners (well, I say complete, I have a niggling feeling I might have accidentally deleted something while formatting this list) is as follows:

Best UK Act: JLS
Best Newcomer: Tinie Tempah
Best International Act: Eminem

Best Song: N-Dubz feat Mr Hudson - Playing With Fire
Best Album: JLS - JLS
Best Video: Tinie Tempah feat Labrinth - Frisky

Best UK Hip Hop / Grime Act: Professor Green
Best Reggae Act: Gyptian
Best Jazz Act: Empirical
Best Gospel Act: Guvna B
Best UK R&B/Soul Act: Plan B
Best African Act: K'Naan

Lifetime Achievement: Billy Ocean

Not that I'd usually want to give CMU Daily space to anything Alesha Dixon says, but the co-host of the MOBO awards show made a relatively good point when she said last night: "I think that the urban music scene is in a really strong place. The artists that are here are dominating the charts at the moment and it feels like a real celebration of what has been an incredible year for urban music".

So there you go, Dixon says something sensible shocker. And her version of 'Son Of A Preacher Man' on that Dermot O'Leary radio show album isn't anywhere near as bad as you'd think. Oh, and well done to all the MOBO winners.

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More awards, and the British Academy Of Songwriters & Composers handed out its Gold Badge Awards in London yesterday too. Contenders for these lifetime achievement style prizes are nominated by BASCA members and then selected by a special panel.

Winners this time round included M People lady Heather Small, soprano singing woman Lesley Garrett, Led Zeppelin blokey John Paul Jones, singing type and one time Pink Floyd collaborator Clare Torry, jazz guy and broadcaster Julian Joseph, and piano playing, orchestra conducting, composer man Howard Blake.

Behind the scenes prizes went to, among others, former Deputy MD of EMI Music Publishing Tom Bradley, Radio 2 producer Phil Seern, and orchestral engineer and mixer Geoff Foster.

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So, the latest person to step forward and announce to the world that they've recorded a new song with Cheryl Cole for her new album (which for some reason is being called 'Messy Little Raindrops') and that it's very good indeed is Gym Class Heroes' Travie McCoy.

He apparently raps on a "dancey" track, which is nice if you like the sound of Travie McCoy's voice. Seemingly that's another area where Cole and I differ. McCoy told The Daily Star: "It was fun. I love the song, it came out great. It was one of those email situations. We are both so busy, so it was too tough for me to get over there and record it in the flesh. But it's cool. I do the second verse. I rap/sing. It's definitely a more dancey track, it'll be in the clubs and have a fucking assload of remixes".

Meanwhile, the rapper/singer said he'd be less keen to work with Cole on 'X-Factor', saying: "Not to discredit these shows, it's cool to see what people are capable of, but it's just people singing other people's songs. It becomes like karaoke. It's a little hokey for me".

McCoy's next single is a cover of 'Alright' by Supergrass. I'm saying nothing.

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U2's manager Paul McGuinness has said that the next U2 album will be out "sooner than anybody thinks". I'm not sure who he surveyed to reach that conclusion, but apparently no one thinks the album will be out before May next year. He also revealed that the album is tentatively titled 'Songs Of Ascent'.

McGuinness told the Irish Times: "I would expect a new U2 album sooner than anybody thinks. I would guess early 2011 before the next leg of the American tour which starts in May".

He also revealed that the album is tentatively titled 'Songs Of Ascent'.

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Black Kids bassist Owen Holmes has announced that he is taking time out from working on the band's second album to release a solo EP, under the name Gospel Music. Entitled 'Duettes', the record sees him collaborate with SoKo, Shirley Simms from The Magnetic Fields, Tracyanne Campbell from Camera Obscura, Darren Hayman from Hefner, and Cassie Ramone from Vivian Girls.

Of the EP, Holmes says: "I had a couple of duets laying around, and one day I thought of the spelling "duettes" (to connote short, small-sounding, detail-oriented songs). I thought this was so brilliant that I purposefully wrote a few more duets, and that's the EP. The only guest singer I'd met is Soko (while touring with Black Kids). As for the others, I employed the sleuthing skills honed during my days as a reporter to find their email addresses. I sent each the song I had in mind for her or him. They agreed to sing them with me, and I'm still wondering whether the universe is playing a trick on me".

'Duettes' will be released by Fierce Panda on 29 Nov. You can watch the video for 'Automobile', which features Tracyanne Campbell, at gospelmusicfla.com.

The full tracklist is this:

I Miss The Shit Out Of You (feat SoKo)
Gamophobia (feat Shirley Simms)
Automobile (feat Tracyanne Campbell)
Reinheitsgebot (feat Darren Hayman)
Are Your Parents Still Together? (feat Cassie Ramone)

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Spotify do that whole streaming music thing. And mobile operator Three sort of does the same by providing its customers with free access to premium Spotify accounts. Now they're coming together to put on two real life gigs that people can go to and stuff. Just because they can.

CMU's Eddy Temple-Morris will be on hand to DJ between all the acts at the two shows in London and Manchester, so it doesn't even matter if you think all the bands are tedious and rubbish. Not that anyone could say that Tinchy Stryder, Everything Everything, White Lies, I Blame Coco, I Am Arrows or Kid Adrift are tedious and rubbish. Not in a million years.

Dates, venues and line-ups look like this:

28 Oct: London, Shoreditch Town Hall (White Lies, Everything Everything, I Am Arrows, EddyTM)
18 Nov: Manchester, The Monastery (Tinchy Stryder, I Blame Coco, Kid Adrift, EddyTM)

More information and other bits and pieces can be found at www.nowplayinguk.com

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Australia's hottest new export, Cloud Control will be heading up this way in October and November with a single and some gigs to scope the place out ahead of the release of their debut album next year. As well as headline dates, they will be supporting the likes of The Temper Trap, Tame Impala and Local Natives.

Their UK debut single, 'Meditation Song #2 (Why, Oh Why)', is out via Infectious Records on 22 Nov. It is dead good, you should probably check out the video now: youtu.be/FFHvKpkUddI

Tour dates:

27 Oct: Manchester, Ruby Lounge (supporting Tame Impala)
28 Oct: London, Heaven (supporting Tame Impala)
30 Oct: Belfast, Ulster Hall (supporting The Temper Trap)
31 Oct: Dublin, Tripod Hall (supporting The Temper Trap)
1 Nov: Dublin, Tripod Hall (supporting The Temper Trap)
2 Nov: London, IndigO2 (supporting The Temper Trap)
4 Nov: Bristol, Mr Wolfs
7 Nov: London, Notting Hill Arts Club
10 Nov: Brighton, The Albert
11 Nov: London, The Lexington
12 Nov: Manchester, Club Academy (supporting Local Natives)
13 Nov: Glasgow, King Tut's (supporting Local Natives)
16 Nov: London, The Social
17 Nov: Portsmouth, Wedgewood Rooms (supporting Local Natives)
18 Nov: Bristol, Thekla (supporting Local Natives)
23 Nov: London, Forum (supporting Local Natives)

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SINGLE REVIEW: Ou Est Le Swimming Pool - The Key (Fire & Manoeuvre)
Unfortunately, nothing can be said about Ou Est Le Swimming Pool without referring to the tragic way their summer ended, with the band's lead singer, Charlie Haddon, committing suicide in August. But with condolences and sympathies duly accepted, the remaining members of the trio have forged ahead with the release of their debut album 'The Golden Year' and this single.

'The Key' doesn't do anything startlingly different to their previous releases of hook-laden electro-pop, but that's not a bad thing. Ou Est Le Swimming Pool make the kind of catchy sounds that The Pet Shop Boys wish they could still muster... this typically anthemic single has even got bloody bells on! Only time will tell what the future holds for the band, but for now it should not be overlooked how well put together the music they have already recorded is. JL

Digital release: 11 Oct
Press contact: La Digit

Buy from iTunes
Buy from Amazon

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The acclaimed CMU Training programme kicks off again next month, launching with the particularly popular 'Music Rights: Inside & Out' course.

Says CMU Business Editor Chris Cooke, who runs the course: "Everyone who works in music is, in a way, working in the copyright industry. Even in the live sector, what you're staging is live performances of someone else's intellectual property. Despite that fact, most jobs in this industry haven't traditionally required much knowledge about what exactly this thing called copyright is".

He continues: "However, as the business morphs into something very different, a basic understanding of what music rights are and how they can be monetised becomes increasingly important to help you identify and capitalise on new revenues and opportunities. That does mean getting your head around some IP law, but I think we present all that stuff in the most accessible and engaging way".

The Music Rights: Inside & Out course covers basic copyright law, ownership and terms, monetising rights, compulsory licences and collecting societies, new music rights revenue streams and the protection of copyright. It is a full day (11am-6pm) course, and takes place on 3 Nov in Shoreditch, London. A place on the course is just £95 plus VAT.

For more information or to book a place download the booking form at this URL:

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Music Mind Exchange is a new programme of events discussing developments in the music business aimed at both digital and music types, and the next such event looks particularly interesting, and not just because CMU Business Editor Chris Cooke is on the panel, though obviously that's one reason!

The topic this time is music funding. If record companies are investing less in new talent, are there alternative places to go to raise start up cash to help develop and launch new artists, or fund new ventures by more established acts? Advocating different methods will be Richard Lyne from fan-funding service Pledge and Tom Bywater and Paul Bedford respectively from music investment firms Power-Amp and Ingenious.

Chris will also give his take on alternative investment options, and discuss if and how the 'big talent of today fund the new stars of tomorrow' model of the record industry can be maintained as the recorded music part of the wider music business becomes less lucrative.

Spaces at the event, which takes place on 27 Oct in Central London, are limited. For an invite, contact info@musicmindexchange.com

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I know we're all supposed to be cool with bands snuggling up to brands for a little bit of cash these days, but sometimes it still makes me sick up in my mouth a bit.

Bands re-recording songs is one area that really grates. I still haven't quite got over Shed Seven changing the words of 'Speakeasy' for mobile phone retailer The Link. But this is even worse, because it's a song I actually like.

Motorhead frontman Lemmy is to star in a new advert for Kronenbourg 1664 lager, in which he performs a new, slower version of 'Ace Of Spades', to emphasise the brand's assertion that this is a beer that should be "enjoyed slowly".

If 'Ace Of Spades' has to be re-recorded for an advert, it should at least show Lemmy playing a double speed, extra loud version of the song before downing six beers (or perhaps a bottle of whisky) in a matter of seconds and punching some children. Note to advertisers: I will buy any product advertised in this way.

Until that happens, we'll have to make do with the Kronenbourg advert. It's due to begin airing on UK TV from 24 Oct, and you can watch a preview here: youtu.be/8a9p0O02B68

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Ted Cohen, the former EMI digital man who has been working in the digital music space as a consultant through his TAG Strategic consultancy since 2006, reckons 2011 will be the year 'access' supersedes 'ownership' in the recorded music business.

There has long been a theory that subscription-based digital music services - so the legal version of Napster and, in the US, Rhapsody, and more recently the premium versions of Spotify et al - are actually the future of the recorded music industry, rather than iTunes style services where you pay a fee per track and get to keep the song forever. This despite the fact that in the early days of digital music it was iTunes that prospered while Napster struggled and numerous other players operating the same business model disappeared.

The subscription-based services are all about 'access', and the iTunes-style services are where 'ownership' comes into play. Some argue the latter has had more initial success because it is more similar to the record/CD model of music consumption we've all grown up with, but that, nevertheless, the access systems will come to dominate long term. Cohen is such an advocate of the access model.

And in a blog post on the MIDEM website, which follows a MIDEM-hosted debate in LA this week, Cohen argues that the access approach could actually start to dominate as soon as next year.

Cohen writes: "[This week's] debate, as expected, was heated, but the consensus was stronger than ever. The growth of music services such as Spotify, Pandora, Napster, Rdio, Rhapsody, We7, MOG, Slacker and others will continue exponentially. The $0.99 download from Apple, Amazon, 7Digital and others will continue to decline. The need for ownership will be marginalised by convenience".

He continued: "On this point there was some disagreement. Eric Garland, co-founder of Big Champagne, expressed that ownership will always matter to a certain segment of the music audience, while Vince Bannon of Getty Images expressed, and I heartily concur, that ownership is a dated concept".

Finally, he concluded: "Vince and I both have Sonos systems in our homes, with access to Pandora, Rhapsody, Napster and iHeart Radio, along with others. These services obviate the need to continue to grow our personal collections at a dollar or euro a track, the economics don't make sense any more. I've been evangelising the inevitability of the access model taking the spotlight for over eight years, I will continue to do so. I believe that 2011 is the year that access will eclipse ownership as the dominant revenue stream, I've bet my career on it".

Cohen also reckons the rise of the access model is good news for smaller independent artists and labels, and he explains why in the full blog on the MIDEM site at this link:

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There have been mixed opinions on the old internet about a quirky anti-piracy video published by US independent rock label Victory earlier this week and featuring American comedian Gilbert Gottfried. I kinda like it. Digital Music News, when linking to it, described it as being "very abrasive and questionable".

And outspoken Victory boss Tony Brummel was not impressed with that description and he sent the website a note to say so. It says: ""Nice jab this morning. The Gottfried piece is somewhat tongue in cheek (and was complete improv) but with an underlying and very important message. If we are training the consumers, young and old, that theft of intellectual property is alright - then we are doomed on much bigger issues (as it allows people to justify other types of illegal behaviour). Just because you can do it does not make it right".

You can make your own mind up by watching the video here:

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Small but recently acquisitive UK radio group Celador Radio Broadcasting has asked media regulators OfCom for permission to change the format of Bristol's Star Radio, which it acquired last month.

Star Radio currently broadcasts "soulful music for the 30-50 year old demographic", but Celador wants to switch it to an "easy listening service for the 40+ age group". That sounds very like The Breeze, the radio service Celador launched in the Southampton and Portsmouth areas earlier this year.

Some reckon that if OfCom allows the format change Star Radio will be soon rebranded as The Breeze too, which would allow off-peak programmes on the South coast station to be networked onto the Bristol frequency.

Celador has also asked that a requirement that Star air programmes for ethnic minority communities in Bristol, in particular the Afro-Caribbean community, be dropped.

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Kanye West says he's come up with a solution for the problems surrounding the cover to his next album 'My Beautiful Dark Twisted Fantasy'. As previously reported, last weekend West claimed that his label had blocked his choice of artwork, a smudgy painting in which a naked half-woman half-pheonix straddles a naked Kanye, because they feared US supermarket giant Walmart wouldn't stock the record with that cover.

Walmart has since said it has never been officially shown the picture and has never offered an opinion as to whether or not the company would let it appear on its shelves. It's possible someone at West's label was second guessing what the conservative supermarket giant's reaction would be. It's also possible the label just thought the picture was shite (it is) and was looking for a polite way to knock it back, given West clearly thinks it's the dogs bollocks.

Anyway, speaking to MTV, West has said he's come up with a solution. He wants to package the new album with one of five different cover designs for fans to choose from. Retailers unhappy with the nudey painting one can just opt not to stock that one, and fans who want that cover can go shop elsewhere. So that's great news for the label, I bet West is now about to provide them with five shite covers to use. Good luck coming up with an excuse to block that proposal.

Meanwhile, this whole thing has provided Billboard with the opportunity to do a great '20 banned album covers' piece at this URL: www.billboard.com/features/20-banned-album-covers-1004121720.story

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Now, people, Christina Aguilera has not dumped husband Jordan Bratman so she can go and have some naughty good times with Samantha Ronson, so please stop saying so.

Apparently, since Aguilera confirmed last week that she was divorcing her husband of five years, Jordan Bratman, rumours have been circulating that she is now romantically involved with celebrity sister and popular lesbian Ronson. But a spokesman for the pop singer told reporters yesterday the two girls were "nothing more" than just good friends.

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Andy Malt
Chris Cooke
Business Editor &
Caro Moses
Eddy Temple-Morris
Paul Vig
Club Tipper
George Osbourne
Cuttings Manager

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