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CMU Info
Top Stories
Scottish politicians try to put touting back on the agenda
Joe Jackson admits beating his children
In The Pop Courts
Florida government to consider pardoning Morrison over Miami Incident
Reunions & Splits
My Chemical Romance not splitting, idiots
Artist Deals
Queen confirm deal with Universal
EMI signs Utada to global deal
UKF signs Modestep after YouTube success
In The Studio
Liam Gallagher's Beady Eye opens
Release News
The Priests to release single with Shane MacGowan
George Michael announces rescheduled Faith re-issue
Gigs & Tours News
The Streets tour
Matthew Herbert plays one day, according to The Guardian
Drum Eyes announce UK tour
Album review: HOSH - Connecting The Dots (Diynamic Recordings)
The Music Business
BMG and Imagem bidding for Chrysalis
More shops than ever to sell music this Christmas
Universal vice-chair to step down
Three candidates stand for PPL performer director post
And finally...
Britain does not want to socialise with Moyles

Little Annie, aka Annie Bandez, released her debut single, 'Barbed Wire Halo', in 1981 through Crass Records under the name Annie Anxiety. Since then she's collaborated with numerous artists, including Crass, Marc Almond, Current 93 and more. Earlier this year, she released a new album, a collaboration with pianist Paul Wallfisch called 'Genderful', and this week she begins a UK trek as the support act on Marc Almond's 30th anniversary tour. We caught up with Annie to find out more.

Q1 How did you start out making music?
By default! I had this big deep voice as a kid, I sounded like Bessie Smith, which was not of much use (I was relegated to page turner for the pianist in the fifth grade choir), though it didn't stop me from singing constantly to everything I heard. I was a precocious high school drop out, my fiancé had passed away, and I was absolutely without any direction and, for want of anything better to do, wandered around looking like somebody who should be doing something!

I met a guy in the subway, Tommy The Junkie, who took me to [New York night club] Max's Kansas City, and the whole NYC punk, glam, nu wave thing was bursting loose, as was disco. I was hanging out with some other under aged kids who had a band called The Blessed. They asked me to open for them, which I agreed to do, which was insane as I didn't do anything at the time but scrawl prose. I pulled something together, it was awful, I was sick with stage fright and I was hooked! Looking back, meeting Junkie Tommy on the A train literally saved my life.

Q2 What inspired your latest album?
All the stuff I just mentioned, mixed with all the ghosts, those passed on and those still with us who haunt the city. My lifelong love hate relationship with New York, its history, the way it changes every five minutes, and the way the light makes it different colours depending on the neighbourhood. Loss, bliss, God who made it all... I didn't start out with any concept in mind, it just happened. The city has always been my wounded muse because it's so in my face.

I live in midtown now, and some of the people I'm singing about have somehow ended up here too. When I walk out the door I see The Essex House hotel, where Donny Hathaway jumped out the window, which sums up everything, all that beauty in so much pain, soaring to his death from one of the most stunning skyscrapers. Now all these people stroll past texting, unaware that their feet are strolling over the spot where God and schizophrenia fought over the voice of an angel. But it could be any city. They run on hope, get knocked around, but ultimately survive...

Sorry for the onslaught of words! Damn, I could've got a whole other album out that speech!

Q3 What process do you go through in creating a track?
I'm always scrawling notes, so sometimes I refer back to them; other times I get a bout of automatic writing where the words and vocal lines just write themselves first draft. Then I usually email them on to Paul Wallfisch and he works his unbelievable magic, writes melodies, arrangements and harmonies, then we get together and tweak it. The man is so talented it hurts! Once we're together on it, things tend to move very quickly.

Ideally we play it live before recording, as living with a song gives you the chance to add layers and detail. Paul is an incredible producer; because he's also a singer with his band Botanica he understands vocals and is open to my production ideas. It's freaky how we tend to always end up with the same ideas separately, it's like twin language!

Q4 Which artists influence your work?
Sinatra, Stevie Wonder, Mahalia Jackson, Mavis Staples, Judy Garland, The Last Poets, Helen Morgan, Spike Lee, Fanny Brice, Al Jolson, The Stylistics, Marc Almond, Donny Hathaway, Grandmaster Flash, Nina Simone, Jackson Five, Brecht, Suicide, Lenny Bernstein, Miles Davis, too many of the big gospel choirs to mention, Lou Reed, King Pleasure, Chet Baker, Cole Porter, the Gershwins, Marvin Gaye, Dr Alimantado, Bob Fosse, Paul Robeson - I could go on.

Q5 What would you say to someone experiencing your music for the first time?
Thank you for lending me your ears and hope something touches some part of you.

Q6 What are your ambitions for your latest album, and for the future?
For 'Genderful', I hope as many people as possible hear this album and see us performing it. Live work is my filling station, it renews the soul. As for the future, I could never have planned any of this so far! I'm always working on something, time off for me is painting. I put in sixteen hour days, hence the future tends to plan me rather then visa versa.

Having said that, I have a 'Must List'. Must hone my jazz chops, must be in a Spike Lee film, must write second half of autobiography, must sing the national anthem at Yankee stadium for the opening of the World Series (in tune - ha!). Must write and perform a musical which feels like a natural progression and an artform that will die if it doesn't keep evolving, must play with full symphony, must work with Stevie Wonder, but past that God is a better visionary than I, all I have to do is fill in the details.

MORE>> www.brainwashed.com/annie/
Producer Becoming Real and rapper Trim's 'Spectre' EP, has been spinning in the CMU office regularly since it arrived in the post sometime last month. The two lead tracks on the release, which will be available to buy from Moshi Moshi subsidiary Not Even next week, shimmer with 8-bit synths underneath Trim's sharp, fluid vocals, creating a ghostly robotic sound. Which, given that Becoming Real himself called his sound 'ghost', is probably what he was aiming for.

The video for the EP's opening track, 'Like Me', went online yesterday afternoon and further adds to the tone of the music, it looking like a nightmare I had recently. Dark, half-seen images shot in hallways, car parks and behind bins in London tower blocks. What does it all mean? I have no idea, but I suggest you watch it over and over and over again until you either work it out or this track is so imprinted on your brain that you have forgotten all other music. Best start now.


Domino Recordings, home to some of the most exciting music around today including Arctic Monkeys and Franz Ferdinand, is seeking an International Promotions Manager. The successful candidate would be responsible for all aspects of international promotion including press, radio and TV for the whole label roster - working closely with our international partners and sometimes directly with the int'l media. Minimum two years experience with artists, managers, record labels and international media is required. The position is based in our London office.

Applicants should send their CV and cover letter to: internationalpromotions@dominorecordco.com
The Zeitgeist Agency are flying. We are a fully integrated communications agency representing premium brands, festivals and artists and we need some help with the most exciting campaigns in music.

Are you the best?
We want the best...
Not the most experienced. Not the coolest. Not the most intelligent.
Just the best.

You need to be bursting with ideas, have unrivalled contacts, work your heart out and always be the last person standing. If you think you fit the bill for either of these roles then we want to hear from you. You have 200 words to impress. Please use them wisely and email paulkennedy@thezeitgeistagency.com
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Concerns regarding the rise of online ticketing touting have been much more quietly expressed in recent years, in the UK at least, in contrast to that period of louder moaning from various quarters that occurred when the number of websites enabling the resale of gig tickets shot up a few years back. For a time there were loud calls, from inside and outside the music industry, for the resale of tickets to be regulated, though, despite some support in the political community for the anti-tout brigade, that never really happened.

But political types north of the border are now trying to get the issue back on the agenda, and have called on the UK government to look into the rights and wrongs of touts being able to snap up tickets for in-demand events so that they can resell them at a marked up prices to real fans on eBay or a specialist secondary ticketing website.

They have framed their call for action around the news that thousands of tickets for next year's Take That concerts (one report in Scottish tabloid the Sunday Mail reckoned up to 50,000) have arrived on ticket touting websites, most asking for at least double the face value of the ticket, and some going for up to £2100 a time.

Labour MSP Pauline McNeill, a former culture minister, said both the live sector and live music fans had been hit by the growth of touting in the last ten years. She told reporters: "It's about protecting the interests of the fans who lose out. We need to find a way to crack down on it. There needs to be some discussion now about how to prevent further injustice for fans".

Meanwhile another Scottish political type, former Runrig member Peter Wishart, an SNP MP in the Westminster parliament, also issued a statement, saying: "Touting has become rife for all major entertainment events while at the same time threatening the viability of the whole live music sector. The UK government must now take action to protect fans who are being ripped-off and let down".

Noting the Take That news report, he added: "Given what we have discovered about the scale of the problem government must consider all options to tackle this, including making the secondary selling of concert tickets illegal - similar to what happens for major sporting events".

The government is yet to respond. The last government urged the live music industry itself to take measures to restrict ticketing touting, threatening to legislate if they didn't. But when the live sector said there wasn't much it could do and that it would welcome new legislation in this area, the politicians went quiet.

Various efforts to persuade ticket touting websites, which take a commission on each sale, to pay a levy into the live industry failed. Meanwhile, some in the live sector have formed commercial alliances with said websites, others have chosen to ignore them, while others still lobby behind the scenes for new touting rules to be introduced. Others reckon that if and when mobile ticketing becomes the norm, the logistics of touting will become harder and will possibly reduce the number of tickets being resold as a result.

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Michael Jackson's father has admitted using corporal punishment to discipline his children. Joe Jackson has often previously denied claims made by his superstar son that he was beaten by his father as a child, but the Jackson family patriarch has now admitted to using such discipline methods in a new TV interview with Oprah Winfrey. It was in an interview with Winfrey in 1993 that Jacko himself first opened up about being beaten in his childhood.

Joe appeared in the previously reported Oprah special, which aired yesterday, and which was filmed in the grounds of the Jackson family home. Michael Jackson's three children also appeared. Joe initially tried to side step the issue when it was raised by Winfrey in the new programme, but his wife Katherine said "You might as well admit it, that's the way black people raised their children ... he used a strap".

With some confused tenses, Mr Jackson then said: "I would have punished by whipping them with a strap, or something, if they did something wrong. It would have kept them outta trouble, outta jail. My kids have never been in jail before... and that's great". Asked by Winfrey if he regretted his actions, Joe said: "No, I don't regret it".

Elsewhere in the interview Katherine Jackson, who denied the widely held belief that she is separated from husband Joe, talked about the late king of pop's addiction to plastic surgery and how that backfired, adding that it began because Michael genuinely believed he was ugly. She added: "I hear that people get addicted to plastic surgery and I think that's what happened to him. I had told him 'That's enough. Why do you keep going?' I even talked to the plastic surgeon and said: 'If he comes there and he wants you to work on his nose just tell him you did it and do the same thing and don't change it'".

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The current governor of Florida is apparently considering posthumously pardoning the late Doors frontman Jim Morrison with regards an indecent exposure conviction from 1970. Governor Charlie Crist possibly has too much time on his hands.

It's not the first time such a pardon has been discussed. Morrison was charged with indecent exposure in March 1969 after apparently exposing himself on stage during what some fans call "the Miami Incident". It was a hot night, the venue was well over capacity, and a very drunk, half-naked Morrison declared: "You want to see my cock, don't you? That's what you came for isn't it? Yeah!" Whether the audience did then, indeed, get a glimpse of Morrison's cock is of much debate.

Anyway, he was convicted of indecent exposure and profanity the next year and his appeal was still going through the motions when he died in 1971. At various points since then Doors fans have called for an official pardon, though so far the authorities there have avoided such a populist measure. But it's thought current governor Crist might finally issue the pardon before he leaves office next year.

He's told reporters: "Candidly, it's something that I haven't given a lot of thought to, but it's something I'm willing to look into in the time I have left. Anything is possible".

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My Chemical Romance frontman Gerard Way has denied reports that the band are planning to split after they complete promotional work for the release of their new album, 'Danger Days: The True Lives Of The Fabulous Killjoys', due out later this month.

The rumours stemmed from an NME interview last week, in which Way said: "This record could be our last big adventure - that's why we had to make it again, that's why we spent the money, that's why we're going to spend more on how it looks than we ever have".

I would have thought it was pretty obvious that those weren't the words of a man announcing that his band was about to split, but Way confirmed to The Quietus yesterday: "It's so funny, it's so obviously a headline. What I said was, 'This could be our last big adventure'. That could mean so many things. We don't know what's going to happen, this could be our last big adventure, so let's go all in".

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As pretty much expected, Queen have confirmed they are leaving EMI's Parlophone label, their home for forty years, and have struck up a new partnership with Universal Music. The remaining members of the band have been known to be discussing such a move with Universal for quite some time.

The new deal, with is global excluding North America, will see Universal's Island label handle the band's back catalogue, with a series of remastered album reissues now being planned to coincide with Queen's fortieth anniversary. Confirming the new deal, Brian May told reporters: "We are very excited, after all this time, to be embarking on a new phase of our career - with a new record company, with new ideas, and new dreams".

Universal's top man Lucian Grainge said in a statement: "Queen rewrote the rock n roll rule book 40 years ago, and you can count at least three generations of artists who are under their influence. So now we're under their influence at Universal Music, and we are looking forward to writing chapters together for the new rule book".

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So what about EMI? Well, they've only gone and signed Hikaru Utada to a new global deal, which you might not find all that impressive but that, sir, is because you are ignorant.

Utada, who has previously performed using just her surname outside of Japan, is one of the most successful Japanese recording artists ever, having sold over 50 million singles, albums and DVDs worldwide over a thirteen year career. One track alone, 'Flavour Of Life', was downloaded more than nine million times when first released.

Utada has worked with EMI before, though Universal's Def Jam has also been involved in her career for the last six years. The new deal will see EMI represent the singer-songwriter globally.

EMI top man Roger Faxon told CMU: "We are very happy that EMI's global network, expertise and passion will continue to contribute to and support the musical and creative vision of the superbly talented Hikaru Utada".

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The newly formed UKF label, owned by AEI Media, which operates dance music brands like Drum&BassArena, This is Dubstep and Get Darker, has announced its first signing, live dubstep act Modestep. The deal was done after the group racked up over half a million views in three months of a video uploaded to UKF's dubstep YouTube channel.

AEI Media's Karl Nielson told CMU: "We are really excited about the signing of such a hot act and what's great is that Modestep attribute their success to date, in finding top management and a growing fan base, down to [our media], so it's a great match. [The] UKF [label] has created a real stir amongst fans and artists, and this signing is a first in every sense of the word. A first release for both UKF and Modestep and we think the first time an act has gone from a YouTube fansite upload to a fully fledged release".

That first release will be an EP on 24 Jan. Check out their track, 'Sunlight' on the UKF Dubstep channel YouTube here: www.youtube.com/UKFDubstep#p/u/45/fx8ZKG3ybHo

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Liam Gallagher's hilariously named new band, Beady Eye, have launched their official website, and to celebrate they've uploaded a clip of some of their music.

Okay, I accept that no one ever expected this to be a particularly groundbreaking or exciting band, but all I'll say is I'm glad the clip's only 22 seconds long, because I might have hammered something into my face if it had gone on longer.

The full track, 'Bring The Light', will be available as a free download from the website - www.beadyeyemusic.co.uk - from 10am tomorrow. Probably best to try out the short clip first, to be on the safe side.

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No, you did not misread that headline. Singing priests The Priests are teaming up with singing drunk Shane MacGowan to release a cover of 'Little Drummer Boy' for Christmas.

MacGowan says of the collaboration: "The Priests are very talented singers and the track sounds good and hopefully people like it. We changed some of the lyrics from the original and we like it the way it is".

Chief priest, Father Eugene added: "Our sharing the song with Shane MacGowan will come as a big surprise for many fans, both ours and his. Neither of us is about to change our respective styles of music or performance but it goes to show how music builds bridges and brings us into creative contact with unlikely partnerships. Bing and Bowie did it... now so have we - thank you Shane".

The track will be released on 12 Dec via Epic, and will feature on The Priests' new album, which will be out a week earlier.

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George Michael has announced that the remastered re-issue of his 1987 debut solo album, 'Faith', will now be released on 31 Jan.

The release had previously been planned for September, but clashed with Michael being locked up in prison for drug driving, which, it was decided for some reason, wasn't good promotion for the record.

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Mike Skinner will soon be walking down The Streets near you. See what I did there? I think we should all pause to consider the genius of the first sentence. Done that? Right, now have some Streets tour dates:

18 Feb: Edinburgh, Picture House
19 Feb: Glasgow, ABC
20 Feb: Lincoln, Engine Shed
21 Feb: Liverpool, Academy
23 Feb: Oxford, Academy
24 Feb: Leeds, Academy
25 Feb: Birmingham, Academy
26 Feb: Nottingham, Rock City
28 Feb: Norwich, UEA
1 Mar: Bristol, Academy
4 Mar: Brighton, Dome
5 Mar: London, Brixton Academy

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As part of his ongoing 'One' project, which has also seen him record a trilogy of albums, Matthew Herbert will be staging a show later this month at the Royal Festival Hall, celebrating one day in the eyes of The Guardian.

Performing with the London Sinfonietta, the show will feature footage and sounds from the production of a whole edition of the broadsheet, from initial editorial meetings to printing. The show is part of the London Jazz Festival, and takes place on 20 Nov.

More info and a podcast interview with Herbert here: www.southbankcentre.co.uk/find/music/classical/tickets/one-day-54622

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Brighton-based experimental rock types Drum Eyes, who count DJ Scotch Egg and former Boredoms drummer E-da amongst their number, have announced some UK tour dates, which will see them playing tracks from their excellent debut album, 'Gira Gira', which was released in August by Upset The Rhythm. It'll be fun, I promise.

Tour dates:

10 Dec: London, tbc
11 Dec: Bristol, Old Fire Station
12 Dec: Liverpool, Don't Drop The Dumbells
14 Dec: Edinburgh, Sneaky Pete's
15 Dec: Glasgow, Captain's Rest
16 Dec: Aberdeen, Tunnels
17 Dec: Newcastle, Star & Shadow Cinema
18 Dec: Reading, South Street Arts Centre
19 Dec: Hitchin, Club 85
20 Dec: London, Corsica Studios

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ALBUM REVIEW: HOSH - Connecting The Dots (Diynamic Recordings)
HOSH, aka Holger Behn, has melded house to classical to dub to minimal during his half decade career. And he shows no signs of letting up on his eclectic side with this, his first full album, coming your way via Hamburg label Diynamic.

The whole album isn't brilliant, though I accept it's a bit of a grower, mainly because it takes a while to get to grips with the number of styles thrown into the mix. Among the weaker tracks are 'Body Jack', a bit of a damp squib, while 'Hong Kong TV', with its obvious Eastern influence, doesn't really hold. Elsewhere, 'Golden Age', some semi-bumpy house, is alright, but not great.

But there is plenty of good stuff too. The Carl Craig influenced opener is an interesting start, while 'Cash The Chord', some groovesome house with a pinch of kitsch, is very fine. But the highlights are 'Crackhead', which sounds like it's from the Freerange stable, a bit of tasteful house and tech that's never forced, and 'Souled Out', a solid moody danceflooor groover with key changes that really work well.

So a few hits and a few misses, but worth checking out. PV

Physical release: 8 Nov
Press contact: EPM

Buy from iTunes
Buy from Amazon

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According to the Financial Times, BMG Rights Management and its rivals Imagem are both definitely bidding for London-based independent music publisher Chrysalis. I think we'd all guessed that already, but there you go. As previously reported, Chrysalis admitted it was considering merger and takeover proposals again last week.

BMG, backed by equity group KKR, and Imagem, owned by Dutch pension fund ABP, are both known to be looking for good publishing catalogues to acquire, and Chrysalis has some great publishing catalogues. Though, according to the FT, they aren't the only interested parties in buying the London company. The newspaper reckons Sony's publishing firm, Sony/ATV, is also considering making a bid.

Warner Music isn't considering a bid for Chrysalis, gossipers reckon, because it is waiting for EMI to implode next year when the London-based major has to ask recently bruised owners Terra Firma for a £100 million cash injection to meet banking covenants.

It is widely expected that if EMI was up for sale Warner would bid for at least the recordings part of the business, which it could probably get at a knock down rate in any fire sale, other bidders likely to be much more interested in EMI's publishing catalogue.

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Music retail might have been going to poo for years now, but, according to the Entertainment Retailer's Association, more shops will be selling CDs this Christmas than ever before. The trade body reckons some 6628 high street stores will be stocking at least some CDs in the run up to the festive season, compared with 4644 such stores at the start of the year.

The boost has occurred because BHS and Game have announced they will start selling CDs, BP will sell music in 370 of its filling station shops and Tesco will add albums to its Express stores. In addition to that, HMV will open up eighteen of its 'pop-up' temporary stores for the Christmas period.

Presumably most of these shops will only sell the biggest pop releases, but still, it's all good news for the Take Thats and Susan Boyles of the world, and will presumably help shift some extra back catalogue packages and compilation releases through the power of the impulse buy.

Says ERA Director General Kim Bayley: "After years of record store closures, this is a remarkable turn of events. A petrol station clearly cannot be compared with a specialist record shop, but this is clear evidence that there is still a lot of interest in the CD format. Combine this spike in physical store outlets with the ever increasing number of digital music services in the UK - now up to nearly 70 - and it is clear that the British public has more opportunities to buy the music they love than ever before".

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Universal Music's group-wide Vice-Chair and CFO, Nick Henny, will step down after a decade with the major, according to reports.

It is thought Henny is parting on good terms, but has decided to leave before Universal's new co-CEO, Lucian Grainge, makes his mark at the top with a big reshuffle of senior execs at the world's biggest music company.

Grainge is expected to promote more of his old team from Universal's International division as part of the revamp. Indeed, it is thought International's CFO Boyd Muir will now relocate to the US and take over from Henny.

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Recording rights collecting society PPL has announced that three people will stand for the one vacant position of Elected Performer Director in the organisation this year.

Although there are two directors representing the society's performer members, only one comes up for election at each Annual Performer Meeting. Standing for that post this time will be incumbent Gerald Newson plus John Fiddy and Samantha Reagan.

Who gets to fill the post will be decided at the APM in London on 22 Nov. I think there'll be some sort of election to decide. No fun. An arm wrestling contest, that's the proper way to sort out this kind of thing.

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Well, kicking Chris Moyles is very much in fashion, so let's do it some more. The over-paid, increasingly-tired-sounding, out-of-a-job-within-a-year Radio 1 deejay (not necessarily my opinions I should stress, I'm just going with the kicking theme) has topped a poll of the British radio presenters people would least like to have a night out with.

Actually, say what you like about Moyles, but I reckon a night at the pub with him would be rather fun, likewise Chris Evans - at number two in this poll - and even more so Tim Westwood, at number three. How Fearne Cotton is only fourth is a mystery to me. Presumably most respondents to the survey by social networking site CitySocialising were so traumatised by the thought of a night out with the Cotton they just blocked her out from their minds entirely.

It should be noted that 22% of women surveyed actually named Moyles as the DJ they'd most like to have a night out with. Jonny Vaughan and Zane Lowe were also rated high in that regard. As for the blokes, the DJs they'd most like to spend a night at the pub with were Frank Skinner and Lisa Snowdon. For different reasons I'd imagine. Lisa for her crazy jokes, obviously.

But enough of the positive, here's the list of DJs the British population would least like to socialise with...

1. Chris Moyles
2. Chris Evans
3. Westwood
4. Fearne Cotton
5. Sara Cox
6. Vernon Kay
7. Lisa Snowdon
8. Frank Skinner
9. Edith Bowman
10. Jo Wiley

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