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Top Stories
Terra Firma v Citigroup: Wormsley takes the stand
Eddy Temple-Morris joins Cage Against The Machine campaign
In The Pop Courts
Ari Up died from cancer, Slits bandmate confirms
Charlatans drummer makes live return
Gene Simmons collapses at airport
Gregory Isaacs dies
Awards & Contests
Q Awards winners announced
Charts, Stats & Polls
Coldplay make music to sleep to
Release News
Nine Inch Nails to re-issue debut album
Crystal Castles to release single with Robert Smith
Underworld dig records
Gigs & Tours News
Beach Boys criticised for miming, badly
Take That announce 2011 tour dates
Sage Francis quits touring
Single review: Paul Smith - Our Lady Of Lourdes (Billingham Records)
The Music Business
IFPI welcomes Masterbox raids
The Digital Business
BPI launches Innovation Panel to talk to digital types
The Media Business
Times rock critic steps down
And finally...
Canadian DJ criticised for mocking Bieber fans
Drunk Bono lost in Number Ten
"Indie is pretentious", says Wanted man

Formed in 2005, the then underage members of The Screaming Females found it difficult to find venues where they were legally allowed to play in the New Jersey town where they lived, so they began putting on their own gigs in a basement. This DIY outlook continued, as they self-released their first two albums, spreading the word of this new punk band and frontwoman Marissa Paternoster's guitar heroics even further. The band released 'Castle Talk', their latest album, via Don Giovanni Records last month, and begin a tour of the UK this week. We spoke to Marissa and drummer Jarrett Dougherty.

Q1 How did you start out making music?
Marissa: I didn't start playing an instrument until I was fourteen. At the time, I only wanted to be a in a band so I could wear funny outfits. I suppose not much has changed in the way of funny outfits.

Jarrett: Music has always been a huge part of my life. My father was a semi-professional singer-songwriter for most of my young life. My mother is a music therapist and plays a dozen instruments. I didn't start playing drums until I was nine years old. To my family that was incredibly late and they thought I might never pick up an instrument. From nine until eighteen I took classical percussion lessons. I learned to play dozens of instruments and most importantly learned how to listen, practice, keep time like a metronome, and to never stop. I've never been able to play as fast or as hard as a lot of other drummers out there but I think I am more creative, interesting, and subtle than most other drummers I hear. I think that that can only come from a lifetime of critically listening to music; growing up with it all around me.

Q2 What inspired your latest album?
Jarrett: Going into the recording process of our new record, 'Castle Talk', we would have never guessed at what would become its biggest inspiration. We had given ourselves more time to work on this record than any of our previous studio releases. We thought we would have all the time in the world. It turned out that we ran into every mechanical failure that can happen in a studio.

Our recording time got squashed and we had to work our asses off to insure the record would come out. If we didn't get it done in the time we had allowed we would have had to completely rework both our North American and European tours. Despite three broken analogue tape machines, snowstorms, uncontrollable tape hiss, a complete album remixing, two mastering sessions, and extremely high tensions we managed to make our best record yet. The determination that made that happen is definitely something you can hear in the final product.

Q3 What process do you go through in creating a track?
Jarrett: The writing process for Screaming Females has been the same since the beginning. The three of us come together, usually in someone's basement, and play music until something interesting happens. Then we refine that raw material and try to work out changes and individual parts that combine to make a song unlike the rest of our songs. We've never defined what the sound of Screaming Females should be, so that allows our sound to evolve into anything we want it to be.

Q4 Which artists influence your work?
Marissa: We spend quite a bit of time in the van together so our personal tastes often develop similarly. More often than not, we are influenced by bands that we play with and get to know. I'd say that collectively, we're pretty analytical and get kicks imitating bands that we like during rehearsals and stuff.

Q5 What would you say to someone experiencing your music for the first time?
Jarrett: What do you think?

Q6 What are your ambitions for your latest album, and for the future?
Jarrett: I hope that the new record sells a few more copies than the last and that a new audience gets to enjoy it. I hope that for long time fans 'Castle Talk' gives them a new reason to love our band and a reason to continue coming to our shows and following our strange rock n roll art project. I guess there is still the hope of having a breakout record, but after four full lengths and a bunch of singles I'm incredibly happy with our slow steady build. Doing things they way we want and, I hope, retaining a high level of honesty and integrity, is important to me.

MORE>> www.screamingfemales.com
The track that really marked Lykke Li's arrival - before the release of her 2008 debut album, 'Youth Novels' - was 'A Little Bit', in which she announced that she might be "a little bit in love with you". This time she's not being anywhere near so coy. On 'Get Some', the first single from her new album, which she's currently finishing up ahead of its release next year, she sings: "Like a shotgun needs an outcome / I'm your prostitute, you're gonna get some".

Gone, it seems, is the cute, squeaky voiced Lykke Li of her debut (which is probably a good thing - a second album of that might have been a bit much), in her place is a woman singing forcefully over booming percussion, thick synth bass and shimmering guitars.

'Get Some' is available as a free download, along with b-side 'Paris Blue', from the link below, and you can catch Lykke Li live in London at Heaven on 4 Nov.


So Gary 'The Guy' Hands wrapped up his testimony in the Terra Firma v Citigroup court case in New York yesterday by reminding us once again that this huge corporate barney is really a story of two men; two former best buddies who fell out spectacularly when their biggest deal together went horribly wrong.

In their report on the proceedings, Reuters remarked how these two men were friends outside the deal making room too, taking in operas, dinner parties and holidays together. They often took their wives along, but when they make this into a movie they'll probably gloss over that part and turn the whole thing into some kind of love affair. Everything was wonderful before EMI. Now, Gary says, he just feels "betrayed".

Asked one last time about his relationship with Citigroup's David 'The Worm' Wormsley, who advised both Gary and the bosses of what was then EMI plc during Terra Firma's big buy into the music business, Hands remarked: "He was a friend. He was someone I trusted. He had given me good information on companies we had purchased in the past".

But the good information stopped with EMI, Gary claims. As much previously reported, the equity man has spent much of the last week telling a panel of New York jurors that The Worm lied about a rival bidder's intentions regards EMI to persuade him and his equity company to bid fast and bid high. Had Wormsley not lied - in three phone calls over the two days before Terra Firma's bid - Gary may never have sunk millions of his and his investors' money into the sinking ship that was Electrical & Musical Industries.

The Worm, of course, denies lying and insists he never made those three phone calls, though when he slid onto the witness stand yesterday there was barely time for him to confirm his name. Gary's lawyer David Boies used what time there was to show just what efforts the banker had gone to in order to win his client's trust.

He showed the court emails between The Worm and Gary, and The Worm and his staff, from back in 2007. One of the latter read "for reasons I won't go into, we have to show big love to TF". Wormsley admitted he went out of his way to prove to his equity group client that he was a trustworthy guy. Asked by Boies how he did this, he told the court "principally, [through] my general demeanour toward him. I would always be as truthful and honest as I could be".

While Wormsley is happy to admit the lengths he went to in order to win Hands's trust, presumably he will not concur when Boies - as he probably will today - accuses the banker of abusing that trust to get EMI's shareholders a better deal than they really deserved, at Terra Firma's expense.

The case continues.

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Xfm presenter and CMU columnist Eddy Temple Morris has announced that he, along with Ou Est Le Swimming Pool's Joe Hutchinson, has joined the previously reported Cage Against The Machine project, which aims to get avant-garde composer John Cage's '4'33''' to Christmas number one.

Proceeds from the sale will go to five charities, including the British Tinnitus Association, of which Temple-Morris is a patron, and CALM, an organisation which seeks to reduce suicide amongst young men, and which Hutchinson became involved with after the tragic death of Ou Est Le Swimming Pool frontman Charles Haddon earlier this year.

Cage's piece, of course, is four minutes and thirty three seconds of silence, the idea being that, in reality, there is no such thing as silence and that the audience should be driven to appreciate the ambient sounds around them. Eddy writes in his CMU column this week: "I just kept thinking that '4'33"' for people with tinnitus, and young people with depression, would be a horrid place, and they couldn't appreciate this piece for its raison d'etre, so we decided to join forces and make this happen".

For the release, Eddy and co are assembling a team of musicians to record a new version of '4'33'''. He explains: "We decided ... to put together a band of serious leftfield, avante garde, upcoming and established musicians from many genres, including classical music, and to, in much the same way as Band Aid, get them to a given place at a given time, have a conductor count off and a producer record the atmosphere in that room".

Join the campaign at www.catm.co.uk or on Facebook at www.facebook.com/cageagainstthemachine. You can read Eddy's column about Cage Against The Machine in full later this afternoon at eddysays.thecmuwebsite.com.

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Tessa Pollit, bassist with The Slits, has confirmed that her bandmate, Ari Up, was suffering from cancer when she died last week, aged 48. She added that she and the rest of the band had not known just how ill their frontwoman had been.

Pollit told the NME: "Ari didn't want me or the rest of the group to tell anyone that she was ill. [And even] we didn't realise [just] how ill she was. Out of respect for the family I don't really want to talk about it. It was cancer, that's all I'll say. [She was] a total rebellious soul, such a compassionate person, the original wild child if you will... and a musical genius not really given the recognition [she deserved] in her lifetime".

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Charlatans drummer Jon Brookes made a brief live return for the last song of the final date on the band's UK tour on Saturday, as he continues to recover from a brain tumour.

As previously reported, Brookes collapsed and stopped breathing on stage at the Johnny Brenda's venue in Philadelphia in September. He received treatment in the US and was initially said to be improving, though the band postponed the rest of their American tour. Back in the UK, he underwent more tests before doctors reached the tumour diagnosis.

Writing on the band's website, Brookes said: "A huge feeling of goodwill came head on towards me as over 2000 Charlatans fans let me know that I was welcome back on stage. I took the deepest breath and tried to let it flow. I hope it sounded OK, but to be honest I have no real measure, it was like I would imagine doing the 100 metres in the Olympic games would feel like!"

Frontman Tim Burgess revealed late last month that Brookes was hoping to be well enough to return to playing with the band full time for their Australian tour next month. While he recovers, The Verve's drummer Pete Salisbury has been standing in as the band continue with their touring commitments.

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Does this mean the geeks have found a way to DDoS direct into your brain? Gene Simmons, whose websites recently went down after pro-file-sharing campaigners launched a so called Distributed Denial Of Service attack, was admitted to hospital on Sunday after collapsing at LAX Airport.

According to TMZ, the Kiss man fainted and cut his forehead. After being taken to Centinela Hospital in Inglewood, California it was confirmed he was suffering from dehydration. He was released from hospital yesterday.

Simmons became a target for the pro-file-sharing dudes recently when he said the US record industry should have sued ever single kid who ever illegally file-shared.

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Reggae musician Gregory Isaacs died yesterday at his London home, it was confirmed. He was 59 and had been suffering from lung cancer.

Born in Jamaica in 1951, Isaacs began his recording career in the late 60s, scoring his biggest hit, 'Night Nurse', in 1982. He worked as a producer and ran his own independent label, African Museum, releasing a number of hits, before signing to Virgin Records in 1978, to release the 'Cool Ruler' album (the title later adopted as a nickname for the singer by fans).

Issued through Island, his 1982 album, 'Night Nurse', like the single it shared its name with, was his biggest commercial hit. However, shortly after its release, Isaacs spent time in prison in Jamaica for having an unlicensed firearm at his home and also cocaine possession.

Although he continued to struggle with drug problems, Isaacs' career in music carried on up to the present day, with his most recent album, 'Brand New Me', released in 2008, while he contributed vocals to 'Six Months', a track on Dub Pistols' 'Rum & Coke' album, just last year.

Gregory Isaacs is survived by his wife Linda and children.

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Okay, those without a strong stomach (by which I mean, people who find mainstream music aimed at the middle-aged sickening) might want to skip this bit. Yes, it's the ever popular Q Awards, which took place in London yesterday lunchtime.

Florence Welch was the only person who managed to take away more than one award, despite Arcade Fire and Plan B having led the nominations. She picked up Best Track and Best Female gongs. Meanwhile, Kasabian were named The Best Act In The World Today. Yes, best act in the whole world. Kasabian. Well, I did tell you that you might want to skip this bit.

As previously reported, Suede were named the winners of the Inspiration Award and Neil Finn was given the Classic Songwriter Award.

Here are all the winners in full:

Best Male: Paolo Nutini
Best Female: Florence Welch
Best Album: The National
Best Track: Florence And The Machine
Best Live Act: Green Day
Best Video: Chase & Status
Breakthrough Artist: Plan B
Best New Act: Mumford & Sons
Next Big Thing: Clare Maguire
Innovation In Sound: Mark Ronson
Best Act In The World Today: Kasabian

Classic Album: Wings
Hall Of Fame: Take That
Icon: Bryan Ferry
Classic Songwriter: Neil Finn
Idol: Madness
Hero: Chemical Brothers
Inspiration Award: Suede

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The last time I accidentally listened to a Coldplay record I was in a coma for four months, so it's no surprise that the band have topped a poll of acts people like to fall asleep to. More surprisingly, Michael Buble is second. A lot of his stuff is quite upbeat isn't it? Terrible, but upbeat.

Anyway, yet another a survey by Travelodge has found that 84% of Brits find playing smooth music can aid a good night's sleep, while 15% said they had a much better night's sleep if they listened to music as they drifted off. Last time I stayed in a Travelodge I found using the support line for their wifi service provider helped. After all, there's only so many times you can hit your head against a brick wall before you're out cold.

Anyway, here are the acts that make most people feel sleepy:

1. Coldplay
2. Michael Buble
3. Snow Patrol
4. Alicia Keys
5. Jack Johnson
6. Taylor Swift
7. Mozart
8. Barry White
9. Leona Lewis
10. Radiohead

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Trent Reznor has announced that he will release a remastered version of the first Nine Inch Nails, 'Pretty Hate Machine', next month.

Announcing the news, Reznor said: "UMe [Universal Music Enterprises] and Bicycle Music Group managed to locate the original mixes, so I went in the studio with Tom Baker and remastered it for a greatly improved sonic experience. In addition, Rob [Sheridan, NIN art director] reinterpreted Gary Talpas' original cover to make for a fresh new package".

He added: "It's been an interesting trip watching the fate of this record float from one set of hands to another (a long and depressing story) but it's finally wound up in friendly territory, allowing us to polish it up a bit and present it to you now. We had fun revisiting this old friend, hope you enjoy".

The album will be released worldwide on 22 Nov.

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Crystal Castles have announced that they will release a new version of 'Not In Love' from their latest album 'Crystal Castles II'. The new version features vocals from a certain Robert Smith of The Cure. The single will also include acoustic demos of 'Celestica' and 'Suffocation', and will be released on 6 Dec via Fiction.

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Underworld have been talking about why - despite being an act who put content online all the time - they still like to record a full album on occasion. The dance duo's Karl Hyde was talking to Washington website DCist about their recent long player 'Barking'.

Hyde: "Since we've started doing stuff on the internet, an album is just a thing we release. We publish on the internet every day and have done so for ten years; music, short films, words, links to other artists. The internet has given us the ability to break out of the traditional format of records and racking in record shops".

He continues: "But the truth is we love records. And records today are a calling card. Unfortunately they don't sell in the way that they used to, even when we were an indie band in the early 90s. [But] a record is a calling card to say we're here and we've got something new to play for you".

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The current incarnation of The Beach Boys, led by founding member Mike Love, have come under fire after fans accused them of miming, badly, at a recent gig in Australia in front of 20,000 people. The band played the first ever concert to be held alongside motor-racing event the Gold Coast 600.

According to reports, many fans drifted away from the gig because of the bad lip-syncing. One gig goer told Sky News: "The Beach Boys were a fraud, they were miming everything. You could tell they weren't even singing, he [Love] was barely even moving".

But Shane Howard, the COO of V8 Supercars, which promoted the event, leapt to Love's defence, though without really addressed any of the criticism. He told reporters: "They really put the crowd in a great frame of mind to end the night. They are rated among the top twelve bands in history and their music is recognised by all ages, all walks of life".

Bands miming when playing live has been quite a contentious issue down under in recent years.

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Take That held a press conference at the Savoy hotel in London this morning to announce their 2011 tour dates. Why they couldn't just send out an email, I'm not sure.

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Rapper Sage Francis has announced that he has decided to stop touring. Whether this means he's decided to stop performing live altogether isn't clear.

In a statement posted to his Facebook page, Francis said: "I just finished my very last show of my touring career. No fireworks went off. No confetti dropped from the ceiling. There was no champagne involved. I did push someone with my foot off of the stage. I did grab his crotch and rip a patch of denim off of his jeans. I did tell many jokes and have fun. I did perform songs that I enjoy. I did do an encore. I did go directly back to my hotel room so I could watch this over and over again. I love beautiful things with style. Here's to being beautiful and stylish at whatever you do".

The "this" he refers to, by the way, is this: youtu.be/dK9TPs_yUz. And he's right, it is pretty cool.

Francis released his latest album 'Li(f)e' earlier this year.

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SINGLE REVIEW: Paul Smith - Our Lady Of Lourdes (Billingham Records)
Sweeping his fringe of one giant curled hair out of his eye and under the brim of his ever-present trilby, Maximo Park frontman Paul Smith has set about making his solo effort, 'Margins'.

'Our Lady Of Lourdes' is the first single taken from that very album and definitely goes some way to showing a different side to the man. Seemingly keen to explore the serious artist lurking within this famously energetic and rather eccentric lead singer, Smith has foregone the obvious routes of big choruses and fast guitars topped off with a Northern twang. Instead he has gone for something far subtler, as echoing guitars and a chugging beat are embellished by strange, layered vocals and wailing.

Less direct and far more haunting in both its lyricism and sound than the student union jukebox noise of Maximo Park, 'Our Lady...' sounds like a much more mature Smith, and is all the better for it. JL

Physical release: 1 Nov
Press contact: Pam Ribbeck

Buy from iTunes
Buy from Amazon

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The International Federation Of The Phonographic Industry has welcomed a series of police raids as part of an investigation into a bootleg CD operation called Masterbox.

The piracy franchise made boxsets available which contained CDRs carrying MP3s from up to 60 albums at a time. Numerous major league acts illegally appeared on the CDs, which also including some pre-release albums. The boxes were sold at forty euros a shot on mainland Europe, though mainly the Netherlands. It is thought 450,000 copies of 50 editions of the Masterbox series were sold.

This week police from four countries - Belgium, Bulgaria, the Netherlands and Spain - raided premises of people believed to be linked to the piracy venture. Three men were arrested and a fourth held for questioning. It's not the first time buildings have been raided in relation to the Masterbox enterprise, though it's the first time a cross-border raid has been staged.

IFPI anti-piracy man Jeremy Banks told CMU: "This was a major cross-border anti-piracy action against an operation that we believe was causing very significant losses to the legitimate music industry. Police took action against a gang that had generated millions of euro in illegal revenues by infringing the rights of artists, songwriters and record producers".

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UK record label trade body the BPI has pledged to directly support both new and established digital music services through the creation of a new Innovation Panel. The organisation says the new service will share consumer research, help to identify and value unfulfilled market opportunities, and provide "a unified forum for dialogue with labels on service design and market strategies".

Some key players in the digital music space bemoan how hard it is to work with the record companies when establishing new services, especially if you're not in a position to write large upfront cheques.

Because the record industry does not license music collectively in the digital domain, separate talks are required with each content owner and, while all labels have an interest in seeing the launch of viable and engaging new digital services, this often means digital companies feel they aren't sufficiently supported by the wider industry.

Given the BPI insisted the music business was supporting digital innovation while lobbying for the Digital Economy Act earlier this year, the new panel is presumably an effort to prove there is some collective work going on in the industry to do just that.

Says BPI boss Geoff Taylor: "I am determined that the BPI should do everything it can to help digital services reach their potential and provide the most compelling experience possible for music fans. With this in mind, the BPI Innovation Panel has been created to offer new and existing digital music operators and record labels a forum where they can share consumer insight and drive innovation to meet the different aspirations and needs of every kind of music consumer".

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Peter Paphides, chief rock critic with The Times, has left the broadsheet, though is expected to continue to write for the paper on a freelance basis. Paphides, who started out his career writing about pop tunes at Melody Maker (RIP) in the early nineties, also worked at Time Out before joining The Times in 2005.

No word yet on a replacement at the daily paper.

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A Canadian shock jock has been criticised by the country's broadcasting regulator after he lashed out at fans of Justin Bieber.

CFNY-FM's Dean Blundell started mocking the Biebster's famously tetchy teen fans after they started bombarding the radio presenter with insults after he'd dissed their hero on Twitter. The radio presenter used the micro-blogging site to confirm he hated the Canadian teen star and his terrible music. He also reportedly insinuated that Bieber was most likely gay. Somewhat unwisely, given most of Bieber's fans are kids, Blundell then started reading out some of their insults on air and throwing an insult or two of his own back.

He told one female teen Bieber fan to "save your energy for puberty or to fend off your dad tonight while you're sleepin", while he remarked that a twelve year old boy who digged the Biebster was almost certainly a "future chugger" (by which he seemingly meant "rent boy", or at least a gay guy who enjoys giving oral sex, and certainly not someone who bugs you for cash on behalf of charitable organisations).

The Canadian Broadcasting Standards Council unsurprisingly ruled that Blundell's Bieber fan baiting was inappropriate, calling the comments "gratuitous and unnecessary" and a violation of the Equitable Portrayal Code. That said, the station's penalty is to read out the Council's ruling during peak-time twice, which seems rather cushy. Perhaps the CBSC find Bieber's loony fans a bit tedious too.

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Bono has revealed that he once got drunk with Tony Blair in Number Ten Downing Street and then got lost trying to find his way out. Well, that's what The Daily Star says, anyway.

According to the tabloid, after getting pissed up together, Tony had to go and take a phone call and asked the U2 frontman to let himself out. He failed. Luckily, a guard was on hand to show him the way.

This is basically the top level rock star equivalent of being manhandled by bouncers after someone drops a shot of vodka in your pint at the local night club and you lose control of your faculties. It's not clear if, having left Club No 10, Bono was beaten up by some local kids or was sick onto the chips he may or may not have bought from a kebab shop on the way home.

It's also not clear what sort of phone calls the then Prime Minister was taking after drinking vodka depth charges with his rock star mates.

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Jay McGuiness of terrible boy band The Wanted has said that he and his bandmates decided to form a pop group, rather than an indie band, because indie is pretentious and pop is more fun.

McGuiness told Metro: "At first, it was just incredibly fun. We got on, had a laugh, drank quite a lot. A lot of the rock and indie industry seems quite pretentious; with pop, people are really honest about how they judge you. When Lady Gaga came out wearing ridiculous outfits, nobody really cared whether it was 'cool'".

He's probably got a point there. Still, I bet he hasn't got any Slint on vinyl. What a fucking idiot.

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Andy Malt
Chris Cooke
Business Editor &
Caro Moses
Eddy Temple-Morris
Paul Vig
Club Tipper
Wayne Rooney
Ambitions Monitor

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