Global Radio launches its music business Stateside, appoints former AEG Live chief
Good news if you're one of those people who like companies called Global to actually be global, because Global's gone global.

Yes, Global Entertainment - the music publishing and talent management side of London-based media firm Global Radio - has launched a US division based out of LA, and it has hired Randy Phillips, last seen running AEG Live Stateside, to head up the business.

The biggest commercial radio station operator in the UK, owning the likes of Capital, Heart, Classic FM, LBC and Xfm, Global has long had operations beyond its radio business, and not just the Capital and Heart-branded TV channels. The Global music publishing unit represents the song rights of a nice little roster of artists, while on the artist management side the company was entirely responsible for inflicting The Wanted on us all.

But confirmation of Global Entertainment's launch in America under the leadership of a veteran like Phillips suggests an ambition to considerably expand this side of the business. Billing itself as a "real 360 content creation company", in addition to its existing publishing and management operations, Global Entertainment plans to move into marketing services, brand partnerships, recorded music and live.

Although best know for his time at AEG, where he was one of the live giant's highest profile execs, Phillips has also worked in management and co-launched a label, so does have the CV to run a "360 degree" music company. Speaking to Billboard about the new venture, Phillips revealed that he has actually been working with Global since last April, but has been "fine-tuning" the model ever since.

He notes: "Doing a start-up is different than stepping into an existing job. Building a business from scratch is like putting together a puzzle, the pieces all have to fit. You can't just hire people because they have great resumes, they have to be able to work with the other people you bring in".

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UK Music publishes a pre-Election manifesto
Everyone's publishing manifestos at the moment, aren't they? Shall we have a CMU manifesto? Let's all take two weeks off making new music and just listen to smooth jazz 24/7. Time Out-style. That's our manifesto.

Anyway, ahead of the manifesto set to be published by the Entertainment Retailers Association next week, UK Music - the trade body of music trade bodies - yesterday put out its own document.

As you'd expect given UK Music's lobbying remit and the impending General Election, this one is very much aimed at the political community, and as such gets its key points across in just 20 words, a list that even a politician might be able to digest in full.

Let's see if you have the concentration span of a politician. Here are the 20 words...

1. Strong copyright framework
2. Access to finance and fiscal incentives
3. Skills pipeline
4. International growth strategy
5. Better regulation based on good evidence

So there you go. Personally I'd have also asked for a commitment that no government minister ever sully a popstar's reputation by pretending to like their music. And maybe free milk for any artist yet to go top ten. And complimentary use of Westminster Hall for the impending fist fight between labels and publishers over digital royalty distribution.

Launching her group's manifesto yesterday, UK Music CEO Jo Dipple told reporters: "In what promises to be a busy year for us, we ask that whoever is elected and forms the next Government supports our agenda, this manifesto will help to crystallise and structure those asks. Following the General Election, the Government will have an in-tray that includes policies affecting this industry and our members, be it directly or indirectly. For that reason, it is important that UK Music conveys a clear message of our sector. Whatever the colour of that Government, our concerns should appeal to any business-minded administration".

Meanwhile UK Music Chairman Andy Heath added: "Growth in the music industry is at 9%. As we approach 7 May, when the country will decide the political future of our nation for the next five years, we need to ensure that the next Government will continue to enable and improve growth in our sector".

By the way, just in case you thought UK Music were getting lazy and had only bothered to write a 20 word manifesto, that list is the edited highlights. The whole thing is online at this here URL.

Afroman man charged and possibly sued over on-stage punch
Afroman was charged with assault and is now facing a civil lawsuit after lashing out at a fan at a recent gig.

The rapper, real name Joseph Foreman, and best known for his hit 'Because I Got High' of course, was filmed punching a female fan in the face after she strayed onto the stage where he was performing. As the video of the punch went viral, Foreman spoke to TMZ, saying he apologised for his actions and that he was planning on seeking some anxiety management counselling.

He added that he thought the person behind him on stage was a male fan who had been heckling throughout his act, rather than a female fan who was dancing.

He said: "I had a guy on the side of the stage yelling obscenities at me, and then these girls got on stage. I asked them to leave. I thought both left and it was the guy there, who was still hollering. You don't know what these people might do - and I'm just trying to do my job - but I thought it was that guy".

Police in Biloxi, Mississippi confirmed that Foreman had been charged with simple assault in relation to the incident, and was later released on a $330 bail. Meanwhile the woman Foreman hit is now consulting a lawyer, TMZ says, who may file litigation against both the rapper and the venue.

Universal chief chats at Code Media as Vessel deal announced
Universal Music boss Lucian Grainge did some of that chatting stuff at Re/code's Code Media conference in California yesterday, and was upbeat about the state of the music business, which was returning to "growth" and "health" he said.

Keen to stress that trends in music consumption vary wildly around the world - and reminding his tech-heavy audience of the "shocking" fact that CD still dominates in two of the biggest markets, Japan and Germany (and is still strong in some other key territories too) - when it comes to digital Grainge noted that the current challenge was finding ways of making paid-for streaming music more attractive to more users.

He was basically confirming that, while freemium is useful for promotion and getting a little income from those consumers who previously brought you nothing, subscription services will likely be the core of the future digital music market. And that means experimenting with new paid-for digital services that might appeal to different kinds of consumers.

An example of that, Grainge would say, was the news that Universal was following Warner in forming an alliance with new video-on-demand platform Vessel, which will give paying subscribers to that service early access to some of the major's new videos.

Which, of course, means Vessel getting content (slightly) earlier than Vevo, the music video platform in which Universal is a sizable shareholder. Though it fits in with Grainge's double mantra of experimenting with new services that might attract different market segments, while prioritising premium over freemium.

See some edited highlights of Grainge's chat on the Re/code site here.

Snapchat allows music capture in videos - is it licensed?
So, you know the Snapchats? Well, if you like to snap but have no chat, good news. A revamp of the iPhone version of the popular messaging app means that if you have music playing through your device's Music, Spotify, Pandora or Soundcloud app, that will now be automatically captured when you make videos in the Snapchat app. You can, in theory, still chat, but from what we can see you have to shout to be heard above the music.

Which is all fun, and may well result in a flurry of highly amusing (without a doubt) lip sync videos flooding their way across the Snapchat network. Though, here's a thing, by capturing a track playing through an audio player within a video, and then sharing that content with others, that surely constitutes some kind of 'synchronisation' and 'communication to the public' of said song and sound recording, does it not?

Many in the music industry yesterday wondered whether this new add-on function within Snapchat is in any way licensed. The tech firm is yet to respond to that question, though given that users can grab any track they like for their Snapchat videos, that would require blanket licences on both the sound recording and publishing side of the equation, and you might expect licensing deals of that scale to have been made public.

It's possible that Snapchat is of the opinion that no such licences are required given the limitations on length, distribution and publication that apply to videos made within the app. Perhaps its lawyers reckon it's a grey area. Though the copyright experts we spoke to thought it was more taupe.

And the boss of the National Music Publishers Association, David Israelite, told Billboard: "Anytime a commercial application wants to use music in its for-profit operations there is a concern that the music is properly licensed and that songwriters are properly compensated. We are looking at this new Snapchat functionality to determine if it is properly licensed".

Of course, there have been rampant rumours that Snapchat - rather than Apple - might be trying to buy Taylor Swift label Big Machine. With the tech start-up apparently seeking a $16-19 billion valuation in a current investment round, perhaps it could just buy all the labels and publishers and then it wouldn't need to worry about licensing anything.

CMU:DIY to lead digital developments debate at Roundhouse Rising
The Roundhouse Rising festival has been taking place at the popular Camden venue all week this week, and tomorrow the proceedings will include a day of workshops and conversations under the banner of Digital Futures.

And in amongst that day of sessions is a panel presented by CMU:DIY, the educational side of CMU. Business Editor Chris Cooke will discuss where the digital music market is at today, where it is heading, and what new artists need to know.

There'll also be tips on how new talent can get their content into digital platforms, and a discussion on why many new artists still seek label partners, even though they can now quite easily get their music into iTunes, Spotify, YouTube and direct to fan.

Offering insights and opinions will be Louis Brown from Island Records, Tyrone Hunter from state51, and AWAL founder and advisor to Apple and iTunes Denzyl Feigelson. For more information on the wider day, check the Roundhouse website here.

Bruce Dickinson receiving cancer treatment
Iron Maiden frontman Bruce Dickinson has just completed a seven week course of cancer treatment after a tumour was discovered on his tongue, it has been revealed. The cancer was discovered early and Dickinson is expected to make a full recovery, though he will be standing down from any Maiden duties until at least the summer.

The band said in a statement: "Just before Christmas, Bruce visited his doctor for a routine check-up. This led to tests and biopsies, which revealed a small cancerous tumour at the back of his tongue. A course of chemotherapy and radiology was completed yesterday".

They added: "As the tumour was caught in the early stages, the prognosis is extremely good. Bruce's medical team expect him to make a complete recovery, with the all-clear expected by late May. It will take a further few months for Bruce to get back to full fitness".

And in conclusion: "In the meantime, we would ask for your patience, understanding and respect for Bruce and his family's privacy until we update everyone by the end of May. Bruce is doing very well considering the circumstances and the whole team are very positive".

Blur are back
In 1994, on my 5am student radio show, I once played Blur's 'Parklife' 21 times back to back. Mainly because we knew the station's President and breakfast show host hated it. But also because Blur were the greatest band in the world and we knew it.

I mention this now because part of me thinks those two hours of barely-listened-to radio possibly constituted my greatest creative achievement to date. I mean, I can't play 'Parklife' 21 times in a row here in the CMU Daily, can I? Though one of my co-hosts that day does now have a daily show on a proper radio station. So he could do it again. He should. The only way to top a two hour radio show consisting only of Blur's 'Parklife' would be a two hour radio show consisting only of Blur's 'Parklife' at the end of which the host was very publicly fired.

Anyway, all of this nostalgic twoddle should probably make me a whole load more excited than I am about the news that Blur's first album in twelve years (sixteen years as a fully fledged four-piece) will be unleashed on 27 Apr, giving fans just under two months to learn all the words before the band play Hyde Park again on 20 Jun.

But just because my Blurred faith has waned over the years, don't let me stop you from exclaiming "woo" or "hurrah" or "yikes mallarky", or maybe snapchatting a tweet of joy. Hell, raid a radio station and play 'Parklife' 21 times in a row why don't you? The album's called 'The Magic Whip' and the gig is part of AEG's British Summer Time.

CMU's One Liners: Official Charts website, Björk radio show, Pete Doherty video, Music Week awards

Other notable announcements and developments today...

• You all noticed that the Official Charts website revamped earlier this week, right? No? What are you people doing with your lives? It includes a "mammoth database". Good news for people seeking to track the movement of every mammoth that ever lived. Plus I now know Perry Como was at number three on 30 Jan 1953. Go see at www.officialcharts.com

• US collecting society ASCAP has promoted Lynne Lummel to the role of Exec VP at its newly created Transformation Management Office which will be "essential in helping ASCAP implement new best-in-class, innovative tools and services for our constituents". So now you know.

• Not to be outdone in the announcing new appointment stakes, rival collecting society BMI announced this week that Ann Sweeney is taking on the new government relations role of Senior VP of Global Policy. That will include an international relations element from the summer. "Deep" said BMI CEO Mike O'Neill, to whom Sweeney will report.

• Björk co-hosted TriAngle Records' Rinse FM show this week. Oh, you missed it? Well, don't tell anyone but you can listen to it here.

• Musical phenomenon PC Music is heading to SXSW this year. Info and new AG Cook track, featuring Hannah Diamond, here.

• LoneLady has released a video for her track, 'Bunkerpop'.

• Pete® Doherty has made a video for his Amy Winehouse tribute, 'Flags Of The Old Regime'.

• Charlotte OC is to release a new EP on 16 Mar, called 'Burning'. Here's what I guess you might call the title track, 'If My House Was Burning'. If my house was burning, I'd probably not stand around singing about it.

• Girl Band are going to release an EP called 'The Early Years' with five good songs on it. Here's one of them, their very good cover of Blawan's 'Why They Hide Their Bodies Under My Garage?'

• Jacco Gardner has written a new album. Not just written it, recorded it too. And now plans to release it. He's a smart cookie, that one. It's called 'Hypnophobia', is out on 4 May, and he'll play a gig in London on 24 Apr. At the 100 Club. Here's 'Find Yourself'.

• Well, the nominees have been announced for this year's Music Week Awards. Here. The Publisher award and the one they hilariously still call The Strat will be announced on the night (ie 9 Apr at the Grosvenor Hotel).

CMU Beef Of The Week #243: Jack White v Student journalism
Jack White loves guacamole and hates bananas, ha ha ha ha ha. Ha. Haaaaa. Those were the facts we learned last month when the University Of Oklahoma's student newspaper The Oklahoma Daily published White's entire contract for a live show that had recently occurred at the university.

"'We want it chunky' and other gems from Jack White's contract with OU", guffawed the article's headline. Running through the rider section of the contract, detailing food and drink requirements pre-show, the newspaper attempted to find humour in everything it found. "36 bottles of spring water", they spluttered.

But actually there was some genuine humour to be found. A demand for guacamole might not seem that funny, but a demand for fresh guacamole that comes with a recipe included is quite amusing. As is the note: "This is a NO BANANA TOUR".

The article seemed no more than an attempt to entertain readers of the newspaper and its website, and one they might have expected to not be widely seen outside the university's campus. Though if you start publishing the riders of major musicians online these days, any assumption that the internet might not notice is a bit foolish.

As attention spread, the newspaper published a second article, more serious in tone, detailing the financial agreements in the contract. The implied but never stated thrust of that story seems to be that a performer fee of $80,000 plus costs of almost $50,000 is more than the university's Campus Activities Council should be spending. This despite the fact that some quick maths done using the figures the article lays out show that the sold out gig seemed to have netted the educational establishment a tidy profit.

The day after this second article, White's management published a statement on his website, accusing the OU Daily of being "unprofessional and very unwelcoming", adding: "Contrary to what some believe, Jack doesn't write the rider nor make demands about his favourite snacks that must be in his dressing room. We're not even sure he likes guacamole but we do know that the folks who work hard to put on the show do enjoy it".

I know, right? It seems like Jack White's management should know his opinion on guacamole. Particularly in light of all that's happened.

Following this statement, the OU Daily published a new article "setting the record straight", in which it said that the contract had been obtained via a freedom of information request, and published because "students need to know how their money is being spent - even if it's being spent on homemade guacamole and aged salami with a sharp knife".

Of course, the original 'OMG look how funny this is' article makes the subsequent 'serious journalism' justification harder to accept, even with the more straight-faced publication of financial details three days later. There's nothing wrong with laughing at rockstars (hell, where would we be without that?), but then trying to take the moral high-ground when they don't see the funny side is harder than it looks.

Speaking of not seeing the funny side, White's booking agency William Morris Endeavor certainly seemed not to. The next article the OU Daily got out of this palaver claimed that the university had now been blacklisted by the company. In fact, the matter was being taken so seriously that that order apparently came from WME's Global Head Of Music, Marc Geiger.

In a later article (further 'setting the record straight'), quotes from Geiger were published in full, stating: "Please communicate to the OU Daily and administration that their desire for free speech cost the students of OU any further shows from this agency until this policy is modified to not disseminate private information. We will not do business with OU until this policy is modified. That's my free speech and free choice. They cost themselves a business relationship".

Meanwhile, a letter to the newspaper from the university's Campus Activities Committee's overall Chair Layne Ferguson and Concert Series Chair Emilye Lewin said that this whole episode had serious implications for all future entertainment for students at the college.

"The music industry is small and word gets out quick", they wrote. "This puts every organisation at OU trying to bring a speaker, artist, or comedian in jeopardy. Because of The Daily's choice to publish and mock White's contract, OU is gaining attention in the talent industry as a place to stay away from".

So that all escalated quite quickly, didn't it? Is there any way back from this situation? Who knows? Probably, yeah. It'll probably be fine. But, you know what? I'd quite like to hear from Jack White.

Luckily, to round this off nicely, White did eventually publish his own statement at the weekend, as the story was seemingly refusing to die. His addressing of it, he hoped, would "explain this nonsensical scenario [so that] we can move on with our lives (or what have you)".

"First off, this is none of your business, but I have no specific demands in my dressing room. I know I could ask for lots of things but I actually don't ask for ANYTHING. I take with me what I need, and that ain't much. Anything on the rider is for the band and the crew. This 'guacamole recipe' is my hilarious tour manager's inside joke with the local promoters. It's his recipe, not mine. It's just something to break up the boredom, seeing who can make it best".

Oh good, finally it seems we might get an answer to the age old question, 'Does Jack White like guacamole?' "I wouldn't know because I've never had it", he wrote, dashing any hopes of resolution in the biggest issue raised by this whole story.

Well, what about the bananas then? "Did it occur to anyone [that] someone on the tour might have an allergy to them? No? Hmmm". That had not occurred to me. Though we should note that he doesn't actually confirm that this is the case. It might still be that Jack White has a massive banana phobia. Please feel free to use that as a headline, if you want.

He went on to say that he was totally in favour of the freedom of the press, and for the use of public finances to be scrutinised, but was still not happy about having his entire contract made available in print and online.

"Do you know why we don't do that or want that?" He asked. "A hundred articles about bananas, free speech, and guacamole is why; it's because people don't understand what a rider is or what the terms of a contract are. They're out of their element, and you can't blame them for it. And people who write about that know this. People WANT a rider to be a list of demands that a diva insists occur lest he or she refuse to play a note of music".

"Am I pissed at the students at Oklahoma University? Absolutely not", he went on. "Am I disappointed in young journalists at their school paper? Absolutely. But I forgive them, they're young and have learned their lesson about truth and ethics hopefully. All they have to do is Google this to know that it's not worth it. Look for real problems instead next time".

So, there you go. Everything smoothed over with a simple 'Why don't you arrest some real criminals?' All's well that ends well. Now let's move on with our lives (or what have you).