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CMU Info
Top Stories
Terra Firma v Citigroup: Did I lie? No
In The Pop Hospital
DEVO cancel all gigs after Mothersbaugh injured
Awards & Contests
DJ 100 announced
Release News
Beastie Boys replace new album with cancelled album
Mogwai evade death for new album
Adam & Joe to release Song Wars Vol 2
Films & Shows News
Ortega to stretch Thriller video to full-length movie
Fela Kuti musical opens in London next week
Gigs & Tours News
Chilly Gonzales to play UK shows next month
Festival News
Festival line-up update
Single review: No Age - Fever Dreaming (Sub Pop)
Talks, Debates & Conventions
MIDEM add sync day with added Glee
The Music Business
Russia appoints body to administer new private copy levy
ACM launch new franchise teaching programme
The Digital Business
Denmark considering three strikes
New look MySpace launches in the US
MUZU announce chart widget
The Media Business
Have a RAJAR round up on us
And finally...
Boy George soaks chatty fan

Following a tour with their former band, The Boggs, in 2007, Jason Friedman and Eleanore Everdell decided to get together and play some music on their own. Over a couple of days, they wrote and recorded the song 'Dressed In Dresden', and then got on with their lives. A year later, The Boggs had disbanded and the pair decided to brush off that song, using it as the basis for a new project, The Hundred In The Hands. The duo released their debut album through Warp Records last month and begin a UK tour with !!! later this week. We caught up with Jason and Eleanore to find out more.

Q1 How did you start out making music?
Jason: My dad brought home an old, very heavy, electric guitar from a garage sale, sat me down in the living room and taught me to play 'Pipeline' by The Chantays. After that I became obsessed with guitar. I'd come home from school and play along to records. But, right from the start I didn't have much interest in learning songs, I just wanted to write my own and used tape to tape recorders to overdub parts in my feeble first attempts. Later I got into four tracks and would spend hours bouncing down tracks to add layers, slow things down and reverse guitars. Good fun.

Eleanore: My dad had this beautiful old Martin guitar and he would bring it down to the living room and play folk songs. He taught me Elizabeth Cotton's way of finger picking which I sat around for hours practicing and at the same time I was spending a lot of time in school choirs and I just loved singing the harmonies. I went to a high school that had a neo-gothic cathedral. Every morning we had to sing these hymns and I would try and learn to read the harmony lines in the middle. I always loved rock n roll but it took me a while to figure out I could make it myself.

Q2 What inspired your latest album?
Jason: One thing we were excited by was using a lot of R&B or hip hop production and combining it with our live bits with the guitars and vocals. Lyrically, most of the songs are basically just love songs. But they're a bit tweaked or off. And they're not A B C stories. It's more impressionistic or like flipping through a book of film stills. But really it's just a mix of some fictional things and personal lines but all playing off each other to make it interesting.

Eleanore: It's also a lot about youth in the city. And cities themselves; how they develop and grow but can also get crippled and die, and so every now and then it drifts into post-war or apocalyptic stuff.

Jason: We made our album kind of in seclusion. Like we just disappeared into the bunker for a few months and worked on everything night and day, so in a sense the songs were inspiring themselves.

Q3 What process do you go through in creating a track?
Jason: We start by each of us writing on our own. We'll work separately and each write lyrics and sketches and then we get back together and we start recording and writing together, each adding and changing what the other brought in. For a while when we were in the first phase of writing we would go over to Jacques Renault's home studio and work on a kind of weekly basis. We did that for months on two album tracks 'Young Aren't Young' and 'Dead Ending' and a couple of EP tracks. In the end we had those and a stack of about 20 demos or first drafts of tracks.

Eleanore: From the beginning we really wanted to work with great producers so we could take things further than we were capable of on our own. So after we had our demos, we took the stems and pushed them further with three different producers in Richard X, Eric Broucek and Chris Zane. With them we added and replaced the bits that weren't working and cleaned things up.

Q4 Which artists influence your work?
Eleanore: J Dilla, Norma Fraser, The Kinks, Diana Ross, Elliot Smith, Gorgio Moroder, Daft Punk, The Beatles, The Cure, Young Marble Giants, The Smiths, Fela, Dinosaur Jr, Ride...

Jason: We were listening to a lot of old ska and dub, 80s hip hop, post-punk and early mod and beat is pretty much in the blood. At Jacques' we were constantly pulling out all his old mutant disco records and classic house twelve-inches. All pretty inspirational.

Q5 What would you say to someone experiencing your music for the first time?
Jason: Best if played loud.

Eleanore: This... will change your life.

Q6 What are your ambitions for your latest album, and for the future?
Jason: I just want to keep working hard and getting better at being a band. We both love touring and so we're loving the way things are going.

Eleanore: And after that, I can't wait to start working on the next album! We learned a lot making this one and from playing the songs live. It's all pretty exciting, I just want to see where it goes.

MORE>> thehundredinthehands.com
Formed in 2006, one of Rökkurró's earliest influences was (apparently) the sunlight which came in through the windows of the attic where they rehearsed. Which sounds kind of unlikely, but their music does go some way to representing that image in sound, complete with the cold landscape of Iceland outside; because the Reykjavik residents create that equally grand and delicate sound that, for some reason, only Nordic bands seem capable of pulling off.

The band released their second album, 'Í Annan Heim', in Iceland and Japan earlier this year. Nine tracks of rolling guitars and swirling strings, which peak, trough and occasionally crash, are all topped off with the soft, fragile vocals of Hildur Stefánsdóttir. The band recently played their first ever UK shows, which will hopefully lead at some point to a release for the album over here.


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So, the question at the very heart of Terra Firma's lawsuit against Citigroup in relation to their purchase of EMI in 2007 was asked yesterday. Did Citigroup's David 'The Worm' Wormsley tell Terra Firma's Gary 'The Guy' Hands that a rival equity group, Cerberus Capital, was about to bid for EMI at 262p per share as the deadline for making an offer for the music company loomed? The Worm, needless to say, answered with a resolute "no".

Gary, of course, says that The Worm told him exactly that on three separate occasions the weekend before Terra Firma bid 265p a share. Had he not, Gary claims, Terra Firma would have bid at a lower price, or maybe not at all, reducing the multi-million pound losses the London-based equity group have since made since taking over EMI.

It was Citigroup's lawyer Ted Wells who asked the question. Terra Firma's legal guy, David Boies, who had previously spent nearly two days questioning Wormsley by that point, had not thought to actually ask the question at the heart of this dispute, instead concentrating on trying to make the jury question just how honest a banker The Worm really is.

But once Wells was in the hot seat, he got his man Wormsley to talk about his role in the EMI takeover. The Worm had already told Boies that he was pissed off when the music company brought in a rival City firm, Greenhill, to also advise on the sale. Boies used that fact to imply The Worm had tricked Terra Firma into buying EMI because, unless he found and financed a buyer, he would have been completely cut out of the EMI takeover deal.

But Wells used Greenhill's involvement to help Wormsley's case. He said that once Greenhill was on board, The Worm was told by EMI to not discuss deal specifics and offer prices with any other potential buyers. Therefore, Wells concluded, The Worm wouldn't and couldn't have known was price Cerberus was going to offer, so couldn't have shared that information with Gary even if he'd wanted to.

Of course, if Gary didn't know that Wormsley didn't have access to that information, and if The Worm was willing to lie (though obviously he wouldn't, he's a banker after all), then that doesn't mean the Citigroup man couldn't have told Terra Firma about Cerberus' (made up) intents anyway. It's also possible that The Worm had heard about Cerberus' plans on the grapevine. But whatever.

Wells also returned to a line of questioning he previously undertook with Hands himself. If Terra Firma believed The Worm had lied to them, tricking them into buying EMI, why didn't the company make this allegation as soon as they became aware the alleged lie had been told, rather than waiting until the day its attempts to persuade Citi to take a billion off what EMI owe the bank failed and they decided to go legal?

Had Hands ever told Wormsley that he believed he'd been lied to by Citigroup before he filed his lawsuit last December, Wells asked. Again the predictable answer from The Worm - "no".

The case continues.

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DEVO have had to postpone or cancel the rest of their 2010 tour dates - mainly in the US - because guitarist Mark Mothersbaugh has seriously injured his hand.

The band issued a statement yesterday that read: "DEVO deeply regret that they have had to postpone all of their upcoming live dates for 2010 due to a serious hand injury sustained by guitarist Bob Mothersbaugh. A glass shard sliced Mothersbaugh's right thumb to the bone, severing a tendon. He underwent immediate emergency surgery and is expected to make a full recovery after proper care and therapy".

Mothersbaugh and fellow DEVOer Gerald Casale will still attend the Moogfest event in North Carolina later this week, though, where they are due to be presented with the first ever Moog Innovation Award by the Moog music instrument company.

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So, the results of DJ Magazine's annual DJ Poll were announced at the Ministry Of Sound last night, with no change at all at the top, where Armin van Buuren is still entrenched as the world's most favourite deejay. There was a bit of movement in the top twenty, though for new entries you have to go down to 23 where you find Swedish House Mafia.

Here's this year's top ten, with the full list at www.trackitdown.net/news/show/104039.html

1. Armin van Buuren (non-mover)
2. David Guetta (up 1)
3. Tiesto (down 1)
4. Deadmau5 (up 2)
5. Above & Beyond (down 1)
6. Paul van Dyk (down 1)
7. Gareth Emery (up 2)
8. Markus Schulz (non-mover)
9. Ferry Corsten (down 2)
10. Axwell (up 4)

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It's good to know that, after all these years, Beastie Boys still have the ability to be utterly confusing.

They announced last week that they would no longer be releasing their much-delayed new album, 'Hot Sauce Committee Part 1', next month, but the follow-up, 'Hot Sauce Committee Part 2', would come out next spring as planned. Now they've revealed that all the songs on 'Hot Sauce Committee Part 1' have replaced those on 'Hot Sauce Committee Part 2'.

Here's Adam 'MCA' Yauch to explain: "I know it's weird and confusing, but at least we can say unequivocally that 'Hot Sauce Committee Part 2' is coming out on time, which is more than I can say about 'Part 1', and really is all that matters in the end".

Oh, that's not helped? Here, he continues: "We just kept working and working on various sequences for 'Part 2', and after a year and half of spending days on end in the sequencing room trying out every possible combination, it finally became clear that this was the only way to make it work. Strange but true, the final sequence for 'Hot Sauce Committee Part 2' works best with all its songs replaced by the sixteen tracks we originally had lined up in pretty much the same order we had them in for 'Hot Sauce Committee Part 1'. So we've come full circle".

And now the condensed version: 'Hot Sauce Committee Part 1' has been renamed 'Hot Sauce Committee Part 2' and will come out in the spring. Presumably 'Hot Sauce Committee Part 2' (renamed 'Hot Sauce Committee Part 1') will be released at a later date. But maybe not. Maybe there only ever was one album. Who knows. Sorry, this isn't very condensed, is it?

Anyway, here's the tracklist for the album that's due to come out in the spring:

Tadlock's Glasses
B-Boys In The Cut
Make Some Noise
Nonstop Disco Powerpack
Too Many Rappers (featuring Nas)
Say It
The Bill Harper Collection
Don't Play No Game That I Can't Win (featuring Santigold)
Long Burn The Fire
Funky Donkey
Lee Majors Come Again
Multilateral Nuclear Disarmament
Pop Your Balloon
Crazy Ass Shit
Here's A Little Something For Ya

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Mogwai have announced that they will release their seventh studio album, entitled 'Hardcore Will Never Die, But You Will', on 14 Feb via their own Rock Action label.

Produced by Paul Savage, who handled the band's 1997 debut, 'Young Team', it was recorded at Glasgow's Chem19 Studios, before being taken back to the band's own Castle Of Doom studio for mixing.

A limited edition version will come with a bonus disc featuring a 26 minute piece called 'The Singing Mountain', which was recorded for Douglas Gordon and Olaf Nicolai's 'Monument For Forgotten Future' installation in Essen, Germany. So, now you know.

Here's the tracklist:

White Noise
Mexican Grand Prix
Rano Pano
Death Rays
San Pedro
Letters To The Metro
George Square Thatcher Death Party
How To Be A Werewolf
Too Raging To Cheers
You're Lionel Richie

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Adam & Joe have announced that they will release a second volume of songs recorded for the 'Song Wars' segment of their much missed BBC 6music radio show.

The first volume was released back in 2008 and only available through iTunes. However, the new compilation will be available through all good download stores, as well as on vinyl, thanks to the splendid folks at Dreamboat Records.

Artwork for the record has been designed by Adam Buxton himself and will apparently be packed full of exclusive photos of the duo. If you have not already, pleased become excited now.

You can download Adam's 'Festival Song' (the compilation's opening track) here.


Side A
Festival Song
Nutty Room
Special Bath
Birthday Time!
Quantum Of Solace
80's Song
Bob Dylan's DVD Box Set
Bums & Binge Drinking (Kate Nash Song)
Coming Home From Holiday Blues
The Mind Of A Pirate (Legal Version)

Side J
Santum Of Quolace
Antiques Roadshow
Baz Luhrmann's Australia
Incredible Song
This Week In Grazia
Itchy Bum
Song For Margaret Mountford
Bathtime For Bowie
Dr Sexy
La-La-La Lumley
Hello Mr Ghost
Bonus track

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Having made a heartfelt tribute to Michael Jackson with the 'This Is It' not-concert movie, director Kenny Ortega is set to make even more cash off the back of the deceased pop star with his next project. Um, I mean it'll be another tribute.

In what is almost certainly the worst idea I've heard all week, Ortega is leading a project to make a full-length movie based on Jackson's 1982 'Thriller' music video. However, according to Deadline, talks are still underway to recruit a studio to fund the project, so it's not actually happening yet. There is still time to stop it!

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The previously reported and highly acclaimed musical based on the life and music of Afrobeat originator Fela Kuti, 'Fela!', will open at London's National Theatre next week.

Full info on the show is available here: www.nationaltheatre.org.uk/felalondon/

Backed by the likes of Jay-Z, Will Smith and ?uestlove, with musical arrangements by Antibalas Afrobeat Orchestra, the show first ran in Brooklyn in 2008 and moved to the Eugene O'Neill Theater on Broadway last November.

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Chilly Gonzales will play two shows in the UK next month, which is brilliant news. The first, in Manchester, will be his excellent solo 'Piano Talk Show', while in London he'll be playing with a full band. This is all very exciting. I'm excited. Are you excited? I am.

Gonzales will also release a new single, 'Never Stop' (aka 'that one off the iPad advert'), on 5 Dec.

Here are the gig details:

15 Nov: Manchester, St Phillips Church (Piano Talk Show)
23 Nov: London, The Scala (full band show)

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ALL TOMORROW'S PARTIES, Butlins Holiday Centre, Minehead, 13-15 May: Animal Collective have been announced as the curators of ATP's first weekend next year. Acts already announced include Gang Gang Dance, Lee 'Scratch' Perry, Ariel Pink's Haunted Graffiti, Broadcast and The Meat Puppets. www.atpfestival.com

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SINGLE REVIEW No Age - Fever Dreaming (Sub Pop)
Without being overly sycophantic, here at CMU we feel that anything emerging from the hallowed Sub Pop stable is bound to be a little bit special. And the latest single from LA punk duo No Age is no exception. Showcasing their knack for distortion and edgy, growling anthemics, 'Fever Dreaming' is the perfect vehicle for their 90's referencing, plaid-clothed brand of melodic noise.

Maintaining their penchant for free-falling catharsis and urgency, the track's verses are punctuated with an almost industrial sounding guitar screech. There's at once intensity and a decent level of breathing space, making the song beautifully crafted underneath the murk, clamour and muffled vocal urgency.

Notably referencing Dinosaur Jr, My Bloody Valentine and The Ramones, this is probably the most accessible of their releases yet. 'Fever Dreaming' is, as ever with No Age, unhinged, cerebral, textural and brilliant: a beautiful - albeit not exactly calming - reverie. EG

Physical release: 29 Nov
Press contact: Toast

Buy from iTunes
Buy from Amazon

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Music business conference MIDEM has announced it is adding a whole day dedicated to the crazy world of sync rights next year, with a key note from PJ Bloom, music supervisor on US TV show 'Glee'. Bloom has also worked picking what tunes to use to soundtrack other hit American telly programmes, including 'The Shield', 'Nip/Tuck' and 'CSI: Miami'.

A spokesman for MIDEM told CMU: "Synchronisation is a growing revenue stream for labels and publishers nowadays. To help participants better understand this trend, MIDEM has created MIDEM Sync, which will feature a keynote from PJ Bloom, a panel discussion bringing together key players in the synchronisation business, and the Music Pitch Sessions. During his keynote, PJ Bloom will describe the creative and commercial aspects of his synchronisation work on 'Glee' and will share his vision for future developments in the field of sync".

MIDEM Director Dominique Leguern added: "It is fundamental today for our participants to have better access to the burgeoning music synchronisation business and I'm particularly delighted that the music supervisor from the TV phenomenon 'Glee', PJ Bloom, will be present for this exceptional day at MIDEM".

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There's a little bit of tension in the Russian music industry today following the announcement The Russian Copyright Owners' Union, or RSP, had been appointed to distribute a new levy that has been introduced in Russia on "recordable media and related equipment".

The levy is similar to that applied in many European countries (though not the UK) on blank cassettes and CDRs and, more recently, in some territories, on digital recording devices to compensate copyright owners for the private copies of their work consumers inevitably make. The levy is usually distributed back to the music industry via a collecting society.

With that in mind, Russian collecting society ROUPI hoped to administer the new levy, but the country's government announced yesterday the RSP had been handed the responsibility, even though that organisation was only established last year and is not currently operational.

A spokesman for ROUPI claimed that the RSP had been handed the levy role simply because it had a celebrity boss - veteran film director Nikita Mikhalkov - adding that they would appeal the ruling on the grounds the Russian government didn't follow the correct procedure in appointing their rivals.

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The Academy Of Contemporary Music has announced the launch of three music education 'franchises', which basically means the Guildford-based music school will equip and accredit other organisations and individuals to teach rock and pop based music courses for young people around the UK.

Each of the three franchises will focus on a different age group, 5-10, 10-16 and 16+. In doing so it will expand the ACM's age range reach considerably. Courses at the Academy itself are in the main focused on students that are sixteen or over.

Confirming the new programme, ACM's Julia Leggett told CMU: "The new franchises will offer parents a new way of educating their children through music in a fun and engaging way, which has benefits that extend beyond musical development".

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According to TorrentFreak, Denmark could be the next country to introduce a three-strikes style system for combating illegal file-sharing. The website says the country's Ministry Of Culture is currently in talks with both content owners and internet service providers with a view to pushing new laws through the country's parliament.

They add: "At the moment there are two models on the table. Rightsholders will almost certainly do all the monitoring of file-sharers, but in one model ISPs send out warning letters and in the other the task is handled by a public body. In both models, an independent body assesses the evidence".

Denmark would join the UK, France, New Zealand and South Korea in introducing laws where persistent file-sharers can have their net connections suspended or disconnected if they fail to heed written warnings.

According to TechDirt, in South Korea, the first country to properly launch a three-strikes system, some persistent file-sharers are only actually getting one warning letter before net suspension proceedings begin, which I guess equals two strikes then your out.

Meanwhile, Music Week reported earlier this week that in France, where the three-strikes system only recently got properly under way, up to 25,000 warning letters are currently being sent out every single day. Also Free, the French ISP who had previously refused to pass on said warning letters to their customers (they argued that technically speaking they didn't have to because of the way the French three-strikes law was worded), are now doing so.

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So, MySpace has relaunched in the US with a new design, a more entertainment-centric approach and that logo. Most commentators are positioning this as the one time king of social networking's last chance at long-term survival as it continues to lose users left, right and centre to Facebook and other content sharing and social networking sites that actually work.

The UK re-launch will follow next month alongside a major marketing push. The company's UK sales team are already in media buying agencies bigging up the new look site to potential advertisers. The screen grabs they're showing off look lovely, though I'm sure once you get inside the new site it's probably shit. It is MySpace after all.

Music will be at the heart of the new proposition, especially in the UK, and not just in terms of the content MySpace itself publishes, but also in the service's new social networking functionality.

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Music video service MUZU has announced a new partnership with the Official Charts Company which involves a new widget carrying the latest singles chart in video form which anyone can place on their website, meaning website owners can have an automatically updating chart feature on their sites.

The widget, called the 'video lightbox' by MUZU, plays clicked-on videos in an overlay screen, so users aren't taken away from the host website. And the website hosting the chart can earn a revenue share on advertising also serviced.

MUZU co-founder Mark French told CMU: "We're really excited about the launch of our partnership with The Official Charts. The new widget is a simple solution for any website to present the best of the Official Charts music videos, together with access to MUZU's full catalogue of over 80,000 videos and the chance to earn additional revenue streams".

While the Chart Company's Business Development Manager Luke Whalley added: "Our new partnership with MUZU enables us to strengthen our consumer offering with high quality video content, whilst expanding the reach of the Official Charts across new and existing online publishers".

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You might think I just sit down of a morning and write this shit off the top of my head, but no, I do research.

And what I discovered is that my mum and dad don't dig Chris Evans in the morning, but returned to Radio 2 recently when Richard Madeley filled in on the BBC station's breakfast show. Whereas the noisy women on my train back from Manchester the other week didn't like Richard, and prefer it when Evans is on air. There were three of them, whereas my mum and dad number two, so Evans attracts more listeners than he loses as host of the Radio 2 breakfast show. Here ends my in-depth analysis of British radio listening.

Though I do have to admit that my findings do not concur with that other in-depth analysis of British radio listening, the all important RAJAR listening figures, which arguably aren't all that much more reliable than my approach to research, but which have a lot more credibility in the broadcasting industry. Because, according to the latest set of RAJAR figures, released today, Evans puts off as many listeners as he attracts.

That is to say, for each of the 1.5 million new listeners Evans brought in when he took over Radio 2 breakfast earlier this year, he's caused an existing Radio 2 breakfast listener to turn off. So whereas Evans initially took the Radio 2 breakfast audience to record levels at the start of the year, he now has more or less the same number of listeners that his predecessor Terry Wogan had this time last year (actually, slightly less). Still, at 8.14 million listeners, he still has by far the biggest radio audience in the UK. Chris Moyles lags behind on 7.1 million, a figure down over half a million on the previous quarter but up slightly year on year.

Radio 2 remains the UK's most popular radio station overall, with a weekly reach of over 13.5 million, while Radio 1, in second place, reaches just over 11.5 million. Over in commercial radio, TalkSport had a very good quarter with audience up 19.6% year on year to 2.96 million. Absolute Radio also saw audience growth, by 4.2% year on year, to 1.65 million. But the biggest commercial station remains Classic FM which, while seeing a slight drop in weekly audience, is still pulling in 5.68 million listeners a week.

Digital radio listening grew again, albeit slightly, in the last quarter, with 24.8% of all radio listening being done via a digital platform, up from 24.6% in the last quarter and 21.1% this time last year. That said, the growth was really in the number of people listening to radio through their telly (which counts as a digital platform), listening via the DAB digital network and via the internet were both down.

In the digital domain, it was another good RAJAR report for 6music which, thanks to being very nearly shut down earlier this year, now has almost twice as many listeners compared to this time last year, at 1.12 million. On the commercial side of digital, Planet Rock saw its audience rise 10.5% year on year to its highest ever level of 783,000.

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I've written variously about how I'd like it very much if everyone would stop talking all the way through gigs, but I'm in two minds about Boy George's reaction to a woman he caught talking at a recent charity gig in aid of The Meningitis Trust.

According to The Sun, a woman in the front row of the show at the Embassy Club in Mayfair was left soaked and sobbing when George threw a glass of water over her, shouting: "Why don't you shut the fuck up, you rude cunt!"

A "club source" told the tabloid that people had started talking amongst themselves at the show because the singer was a bit rubbish: "He wasn't playing his hits and people were losing interest. It was a shocking lapse of judgment because people had paid to support the Trust".

Like I say, I'm in two minds about this incident. Still, as a general rule of thumb, if a band is playing, shut the fuck up you rude cunts.

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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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