Why did Universal Music donate £10k to the Tory party?

Multinational media giant Vivendi has steered clear of taking political sides, until now.

The Sun had an interesting scoop yesterday. The Tory party sold a backstage pass to a Justin Bieber concert at a charity auction for £10,000. Tom Newton Dunn writes:

The meeting with Canadian Justin was sold to the highest bidder at an auction at the Tories’ annual Black and White Party to raise cash for future election campaigns…

Access to the star at his concert at London’s O2 on March 7 was donated by Universal Music UK, his record label in Britain.

But while the involvement of Bieber does make the story funnier, the real question is why Universal Music UK was making what is essentially a £10,000 in-kind-donation to the Tory Party.

Neither Mercury Records, the subsidiary of Universal Music UK which publishes Justin Bieber, nor Vivendi, the French media giant which owns Universal, were able to explain in time for publication why — or whether — the donation was made.

Corporate donations to political parties are legal and uncapped in the UK, but this would be the first time Mercury, Universal or Vivendi — whichever level of the organisation made the donation — had donated to the Conservatives since 2005 at least (when Search the Money's records begin). The company has a number of socially aware artists on its roster, including Kate Nash, K'naan and the Jam, none of whom are likely to be happy about learning that their concerts could become fundraisers for the Tories without their permission.

Bieber. Photograph: Getty Images

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

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An alternative Trainspotting script for John Humphrys’ Radio 4 “Choose Life” tribute

Born chippy.

Your mole often has Radio 4’s Today programme babbling away comfortingly in the background while emerging blinking from the burrow. So imagine its horror this morning, when the BBC decided to sully this listening experience with John Humphrys doing the “Choose Life” monologue from Trainspotting.

“I chose not to choose life: I chose something else. And the reasons? There are no reasons. Who needs reasons when you’ve got Radio 4?” he concluded, as a nation cringed.

Introduced as someone who has “taken issue with modernity”, Humphrys launched into the film character Renton’s iconic rant against the banality of modern life.

But Humphrys’ role as in-studio curmudgeon is neither endearing nor amusing to this mole. Often tasked with stories about modern technology and digital culture by supposedly mischievous editors, Humphrys sounds increasingly cranky and ill-informed. It doesn’t exactly make for enlightening interviews. So your mole has tampered with the script. Here’s what he should have said:

“Choose life. Choose a job and then never retire, ever. Choose a career defined by growling and scoffing. Choose crashing the pips three mornings out of five. Choose a fucking long contract. Choose interrupting your co-hosts, politicians, religious leaders and children. Choose sitting across the desk from Justin Webb at 7.20 wondering what you’re doing with your life. Choose confusion about why Thought for the Day is still a thing. Choose hogging political interviews. Choose anxiety about whether Jim Naughtie’s departure means there’s dwindling demand for grouchy old men on flagship political radio shows. Choose a staunch commitment to misunderstanding stories about video games and emoji. Choose doing those stories anyway. Choose turning on the radio and wondering why the fuck you aren’t on on a Sunday morning as well. Choose sitting on that black leather chair hosting mind-numbing spirit-crushing game shows (Mastermind). Choose going over time at the end of it all, pishing your last few seconds on needlessly combative questions, nothing more than an obstacle to that day’s editors being credited. Choose your future. Choose life . . .”

I'm a mole, innit.