I like a couple of her tracks but really! When the publicity comes from being the first female with dyed hair to stay at No6 in the charts for more months than anyone since a yodelling lesbian in 1943, you know our industry has become desperate.

The BPI is a walking disaster - meant to be representing the "British Music Industry"... no, sorry, that's Phonographic as in Obsolete.

Utterly useless executives in their thirties and forties atop appalling, collapsing conglomerates link arms with one purpose for music... to earn their salaries and keep their jobs.

Enemies of progress; stiflers of imagination; drainers of enthusiasm... deaf, dull, dreary, fat, pompous... put them up against the wall of the appropriately cancelled GLC City Hall.

What is interesting - and terrible - is how the singles chart has been subverted to exclude popular singles/tracks by artists who sell albums (both new (non-bleepy, non-puppet) artists and established acts who play radio-friendly commercial music) in favour of Capital Radio stuff that sounds like a demented wasp buzzing inside your brain.
If music sells primarily to 'track buyers' (ie the young and/or thick) they dominate the singles chart and radio playlists for months on end but other "hits" (for example 10/10 by Paolo Nutini) get to #188 for 1 weeks despite being a-listed for weeks.
If one is to make a comparison, if it was the 70s the singles chart would consist of JK-esque novelties, multiple singles by acts like BCR & The Osmonds, disco/soul one-hit-wonders and breakthrough hits - all hanging around for months - with the likes of 10cc and Wings, commercial though they are/were, having a couple of big hits then being classed as 'albums bands'.
The one great thing about the 60s, 70s, 80s & 90s charts - and the thing that still endears them to many - is the sheer variety of styles and the general quality from the majority.