TODAY'S TOP STORY: The British music industry woke this morning to the news that one of its true greats had died. A short statement on the official social channels of David Bowie read: "David Bowie died peacefully today surrounded by his family after a courageous eighteen month battle with cancer. While many of you will share in this loss, we ask that you respect the family's privacy... [READ MORE]
TODAY'S APPROVED: Dutch psych rock quartet PAUW are set to release their impressive debut album, 'Macrocosm Microcosm', in the UK on 22 Jan. Already highly acclaimed back home, they have their sights set on the rest of the world for 2016. The album's release was pre-empted with the single 'Visions', a spectral pocket of blunt bass and Pink Floyd-esque guitar. As an introduction to the record it... [READ MORE]
CMU PODCAST: In the final CMU Podcast of 2015 CMU's Andy Malt and Chris Cooke review the year in music and the music business, plus the rates personalised radio services in the US will pay from this year and how streaming platforms are headhunting radio people. The CMU Podcast is sponsored by 7digital... [LISTEN HERE]
TOP STORIES Tributes flood in as David Bowie dies
LEGAL Spotify faces second multi-million mechanical royalties lawsuit
LIVE BUSINESS Shempire to remain closed until end of March as roof work continues
ACE provides funding to develop expansion plans at Manchester's Band Of The Wall
Robomagic partners on new festival from Caught By The River
DIGITAL & D2F SERVICES Apple Music tops ten million subscribers
OBITUARIES David Bowie 1947-2016
RELEASES Secret 7" project returns for fifth year
ONE LINERS 7digital, Lemmy, Tindersticks, more
AND FINALLY... Alanis Morissette becomes Guardian agony aunt
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We are looking for an experienced Digital Content Manager to manage the scheduling and delivery for digital releases to all retailers ensuring quality control and accurate, timely delivery. The applicant will also be responsible for producing sales data and also registering all repertoire with relevant collection societies for both copyright and publishing.

For more information including a full job description and how to apply click here.
Six07 Press is looking for an experienced music PR to join us as a Senior Press Consultant. It is vital that applicants have two to three years’ experience in national UK print PR, as well as online PR campaign management. We are looking for someone who is self-motivated, flexible and has initiative.

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Hospital Records are hiring a Head Of Publishing for their in-house department, Songs In The Key Of Knife. Based in our South London office, we are looking for someone with 12-18 months minimum publishing experience to administrate all aspects of our catalogue worldwide.

For more information including a full job description and how to apply click here.
KINC is a communications agency that specialises in music, sports and entertainment. We have an exciting new role that has become available working across all of our music clients. It is a full time role in Islington, London starting in February 2016.

For more information including a full job description and how to apply click here.
As a member of our live events team you will be responsible for the booking, programming and promotion of our live music calendar alongside the current events manager. You will have experience booking and contracting live acts and will have a strong network of contacts to draw on.

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We are an independent music publisher based in Central London, specialising in indie-classical and electronic music. We also manage the rights of the media composers managed by our sister company, Manners McDade Artist Management. Due to expansion we are recruiting an experienced Copyright & Royalties Manager to work with our International catalogue.

For more information including a full job description and how to apply click here.
We are looking for a highly motivated and creative individual to be the Press Officer for an exciting venue re-launch in London. The ideal candidate will have at least a year's experience in the PR industry, with a passion for nightlife, music and food, and a keen eye for detail. We are looking for someone who has the ability to deliver excellent press coverage, offer fresh ideas for our communications strategies and thrive under a heavy work load.

For more information including a full job description and how to apply click here.
CMU Jobs is a proven way to recruit the best music business talent for roles across the industry at all levels, from graduate to senior management. To book an ad contact Sam on 020 7099 9060 or email
A guide to upcoming events from and involving CMU, including seminars, masterclasses and conference sessions from CMU Insights and workshops from CMU:DIY, plus other events where CMU journalists are speaking or moderating.
18 Jan 2016 CMU Insights Seminars: How The Music Business Works Programme
18 Jan 2016 CMU Insights Seminar: Making Money From Music
20 Jan 2016 CMU:DIY x Urban Development Industry Takeover Seminar
25 Jan 2016 CMU Insights Seminar: How Music Rights Work
1 Feb 2016 CMU Insights Seminar: How Music Licensing Works
8 Feb 2016 CMU Insights Seminar: The Music Rights Sector
10 Feb 2016 CMU Insights Masterclass: Key Developments In Music Rights
15 Feb 2016 CMU Insights Seminar: The Live Sector, Brand Partnerships & Fan Services
22 Feb 2016 CMU Insights Seminar: Building A Fanbase - Social Media Tools
29 Feb 2016 CMU Insights Seminar: Building A Fanbase - Music Media
6 Mar 2016 CMU Insights Seminar: Building A Fan-Orientated Business
6 May 2016 CMU Insights @ Canadian Music Week 2016
19-20 May 2016 CMU Insights @ The Great Escape 2016

Tributes flood in as David Bowie dies
The British music industry woke this morning to the news that one of its true greats had died. A short statement on the official social channels of David Bowie read: "David Bowie died peacefully today surrounded by his family after a courageous eighteen month battle with cancer. While many of you will share in this loss, we ask that you respect the family's privacy during their time of grief".

As some fans, in a state of disbelief, questioned whether the news was indeed true - despite it appearing on verified social media - a spokesman for the singer provided confirmation to news agencies, while Bowie's son Duncan Jones tweeted: "Very sorry and sad to say it's true. I'll be offline for a while. Love to all".

Few artists will ever unite the wider music community - from artists to industry to fans - in the way that Bowie did across his six decade career, all of which makes the flood of tributes on social networks and across conventional media this morning entirely unsurprising.

Bowie was a truly great popstar, but also a constant innovator, whose creative twists and turns resulted in an incredibly eclectic oeuvre. While some chapters in that long career gained more momentum than others, every bit of it was, in its own way, fascinating.

Of course, Bowie's passing comes in the wake of the singer's most recent comeback, with the surprise 2013 release 'The Next Day' and last week's 'Blackstar', a record which, it turns out, was in development in the months after the singer's cancer diagnosis. In some ways Bowie's death now, with him back on top creative form, is all the sadder, though, at the same time, it's fitting that he was creating and innovating to the very end.

Much of the music community will surely unite today in dipping a little into the best of Bowie's output which - it being so wide - allows each listener much freedom in deciding what constitutes "best". David Bowie, may you rest in peace.

Spotify faces second multi-million mechanical royalties lawsuit
The big story in music remains the rapid growth of everything in the streaming sector, you know that. Continuing that trend, Spotify has just doubled the number of multi-million dollar mechanical royalty lawsuits its tackling in less than a month. Everything's booming in Streamsville.

So yes, as expected, a second lawsuit has been filed over Spotify's alleged failure to pay mechanical royalties to at least some publishers and songwriters in the US. This one is being led by law firm Gradstein & Marzano, last seen in these parts successfully repping Flo & Eddie in their legal fight for royalties from satellite radio station Sirius, for the airplay of their pre-1972 hits as part of the 1960s combo The Turtles. In the mechanical royalties domain the firm's client is singer-songwriter Melissa Ferrick.

As previously reported, musician and artist rights campaigner David Lowery filed a lawsuit against Spotify on the same issue just before New Year. Both Lowery and Ferrick claim that Spotify failed to comply with the rules of the compulsory licence that covers the mechanical rights in songs in the US, and therefore cannot rely on that licence for the songs it streams.

In the absence of direct licences with Lowery and Ferrick or their reps, that constitutes copyright infringement, which is what both lawsuits are alleging. In America there are statutory damages for copyright infringement, which can go as high as $150,000 per song if you can show the infringing activity was "wilful".

The key element of the compulsory licence that Spotify - and others in the on-demand streaming domain - have seemingly failed to rigorously comply with is the requirement to file a 'notice of intent' with each and every publisher whose works you intend to exploit. Spotify sympathisers in the music community say that part of the problem there is a lack of a central database identifying which publishers rep what songs.

Legal reps for Lowery and Ferrick say that [a] that's no excuse and [b] it's easier to identify who reps their clients' songs that Spotify's sympathisers suggest. Which is probably true, though it's still quite a challenge when you're trying to sort out the licensing admin on a 30 million plus catalogue, many songs in which are likely repped by different agents in different territories.

However, one of Lowery's lawyers, Mona Hanna, told CMU that even where a copyright owner cannot be identified, there is a system in place under the compulsory licence.

She explained: "Where the information regarding the copyright owner is unavailable, or unknown, the compulsory licence can be used to legally obtain the right to distribute the music. [But the law] requires a 'notice of intent' to obtain a compulsory licence be filed with the Copyright Office and then the statutory royalties for that work to be deposited to the Copyright Office until the name of the copyright holder is identified. At which point, the royalties go to the copyright owner or his agent directly".

Spotify is yet to comment on the specific allegations in either Lowery or Ferrick's lawsuits, except to say that it wants all creators to be paid when their works are streamed, that copyright data is the issue, and that it has already committed to invest more to tackle that problem in 2016 with a big fat new database.

It seems likely that most on-demand streaming services in the US have failed to properly comply with the terms of the compulsory licence for the mechanical rights in songs. Which means, in the absence of direct licences, they are technically infringing copyright, even if they are paying performing right royalties on the same songs via collecting societies BMI and ASCAP.

Though it's also likely that streaming services of the Spotify kind were advised, when entering the US market, that no one ever really enforces the terms of the compulsory licence, and that everyone knows that the payment of mechanicals in the US is at best inefficient. So providing such services set aside the statutory royalties due on each stream - and then hire the services of a reputable mechanical rights agency to try to identify rights owners and beneficiaries - all would be well.

That advice - if it was, indeed, the advice that Spotify received - ignored rising frustration in some quarters of the American songwriting community about the way streaming services operate. Frustration that began with Pandora (which, as personalised radio, doesn't pay mechanicals) but which quickly extended to Spotify et al. And angry songwriters in control of their own publishing are more likely to enforce the compulsory licence to the letter.

That advice possibly also relied too much on the abilities of America's mechanical rights agencies to deal with digital income. Spotify relied on the biggest, the music publishing sector's own Harry Fox Agency. But, says Ferrick's lawsuit, HFA "was ill-equipped to obtain licences for all of the songs embodied in the phonorecords distributed by Spotify".

When speaking to CMU, Lowery's lawyers were pretty dismissive of Spotify's pre-Christmas pledge to invest in a super-duper new song rights database to improve royalty payments to songwriters, speculating that the announcement had been rushed out to pre-empt the lawsuits that the streaming service by that point knew were incoming.

Meanwhile, on that plan, Ferrick's legal papers say: "That is an investment and process that Spotify should have undertaken before it decided to reproduce and distribute embodying unlicensed musical compositions to the service's millions of users, not over four years after Spotify launched the service in the United States. At this point, Spotify's failure to properly obtain licenses is much more than what it euphemistically describes as an 'administration system' problem; it is systemic and wilful copyright infringement for which actual and statutory damages are the remedy".

The 'wilful' word is key there because, as mentioned above, that's what boosts the potential statutory damages in these cases to $150,000 per song. That could make this dispute much more expensive for Spotify to settle than simply handing over the mechanical royalties which have gone unpaid, which the streaming service insists it has set aside. These are both class actions, meaning any songwriters who have had music streamed by Spotify in the US without licence could pursue damages.

It is thought that Ferrick has been working with Jeff Price's Audiam on identifying what mechanical royalties she is owed. Price also works with the publishing side of Victory Records, which had a short-lived spat with Spotify over mechanical royalties last year. He has also been very vocal on this issue for sometime, to the extent that on-demand streaming services possibly should have seen this problem brewing a few years back, when it might have been easier, quicker and cheaper to solve.

It remains to be seen how Spotify formally responds to both these lawsuits which, as class actions, could as yet be merged into one. Presumably the streaming service will want to have this matter resolved ahead of any IPO plans, if and when those rise to the top of the agenda. It may also be hoping that its supporters in the music publishing sector - who see this as a rally call to finally sort out copyright data and mechanical right weaknesses in the US market - can help to an extent. Though that might be optimistic.

The squabble continues.

Shempire to remain closed until end of March as roof work continues
The Shepherd's Bush Empire will be closed until at least the end of March, it has been confirmed, so that the venue can have one of those roofs that doesn't fall in, which seem to be popular with music fans these days.

As previously reported, the West London venue was initially closed last month, just before a Courteeners gig was due to start, after certain "structural issues" were discovered. All shows for the rest of the month were quickly cancelled, but venue operator the Academy Music Group said it was hoping to have the Empire back open for business within a few weeks.

However, that timeline may have been rather optimistic. All shows booked into the venue until 31 Mar are now being relocated or rescheduled, with an official statement confirming that: "Following the closure of Shepherds Bush Empire on 4 December and further inspections, structural engineers have advised that works to the roof structure will extend into March".

The statement added: "We are sorry that these extended restoration works mean that further shows up to 31 Mar 2016 will either be moved to other venues in London or rescheduled as necessary. Once again, we thank artists, promoters and fans for cooperation and patience and wish to reassure everyone that safety is our priority. Anyone with ticketing enquiries should contact their point of purchase please".


ACE provides funding to develop expansion plans at Manchester's Band Of The Wall
Marvellous Manchester venue Band On The Wall last week announced that it had secured funding from Arts Council England to help it develop plans to extend the space's capacity to 500 and expand its educational and participation facilities.

This initial funding will enable the company behind the venue to produce more detailed plans for the proposed £2.5 million expansion. It will then be able to submit a stage two application to ACE in a bid to secure funding towards the expansion itself, which will be assessed according to various criteria, including "long-term sustainability and resilience, and the potential for partnership funding".

Commenting on the confirmed funding, the venue's Gavin Sharp told reporters: "While we have a long way to go to secure the extension of Band On The Wall, this first stage of funding is crucial to allow us to develop our plans and we are very grateful to Arts Council England for its support".

ACE's Alison Clark added: "We are delighted to be able to invest in the extension of the highly popular Band On The Wall venue which will enable it to present an even more ambitious programme to larger audiences".


Robomagic partners on new festival from Caught By The River
Rob Hallett's Robomagic recently confirmed it was on board to co-promote Caught By The River Thames, a new London-based festival from the website and nature/culture collective Caught By The River that was first announced last month.

Caught By The River has previously curated stages at other festivals, but this will be its first standalone event. Its programme will combine music and literature, with a nature symposium, beer festival and food market also promised. Running from 6-7 Aug, it will take place in the grounds of Fulham Palace in West London, which has never previously been used for a large-scale event of this kind.

Confirming the tie up with Robomagic on his new event, Caught By The River co-founder Jeff Barrett told reporters: "This is very exciting for us. We've been developing our festival and events skills over the past few years, waiting and looking for the perfect site and partner to come up and with Fulham Palace, on the bank of the River Thames, and Rob and Robomagic, we've found them".

Meanwhile Hallett added: "Caught By The River Thames will fill a gap in London's cultural landscape and we are delighted to be working with Jeff and his team to bring it to Fulham Palace.

Apple Music tops ten million subscribers
Apple Music now has over ten million subscribers, according to sources cited by the Financial Times. The last time an Apple exec commented on sign-ups for the firm's much hyped streaming service, in October, boss man Tim Cook said 6.5 million people were paying while another 8.5 million were still on the three-month free trial.

The jump to ten million assures Apple Music's status as the second biggest pay-to-access streaming service in the world, and many have noted that in six months Apple secured half as many users as Spotify managed in six years, even without the freemium level the latter insists is necessary to sell £10 a month subscriptions.

Though, of course, Apple's streaming set up very much benefited from the momentum Spotify kickstarted all those years ago, not to mention its massive iTunes userbase. Since Spotify last declared its user figures, it has moved some way on from 20 million paying customers (and new stats are likely incoming). Indeed, insiders at the streaming firm insist that the arrival of its big new competitor has simply heightened interest in streaming music which has, if anything, further escalated its own growth. Which is probably true.

The record industry seems pleased with both Apple Music's rapid growth, and Spotify's performance during the same period. Though few would deny that Apple increasingly pushing streams is only escalating the decline in download sales, meaning the music industry is ever more reliant on the still loss-making (for the digital service providers) streaming sector. Labels, more than anyone, need Apple Music and Spotify to retain at least their current levels of growth throughout 2016, during which time some of the smaller players in streaming music will almost certainly drop out of the market.

Of course, there's plenty of room for further growth. Taking the most recently declared figures and fudging them slightly for recent sign-ups, there's still approximately 7,393,985,500 people left to turn-on to premium music streams, so there's plenty of opportunity there.

Though pretty much everyone agrees that the market for £10 a month streaming is tiny compared to the potential of £2 a month streams, or music-with-movie bundles, or freemium streaming with decent ad income and direct-to-fan up-sell, all of which the music industry also needs to capitalise on in the coming year, as discussed in this here 'Five key digital challenges' trends article.

David Bowie 1947-2016
David Bowie has died following an eighteen month battle with cancer, it was confirmed this morning. He released his 25th and final album 'Blackstar' on Friday, the same day as the musician's 69th birthday.

Born David Jones in Brixton in 1947, Bowie became known as the chameleon of pop music for the number of times he completely changed his sound and image. He took on his stage name in the mid-60s to avoid confusion with Davy Jones of The Monkees, releasing his debut album, 'David Bowie', in 1967 to little success. The album was released shortly after pun-heavy novelty single 'The Laughing Gnome', which also failed to chart.

It was two years before he released his second album, also titled 'David Bowie' (and later re-released as 'Space Oddity' to avoid confusion with his debut). In the interim, he had begun studying dance and other physical arts, such as mime, which would influence his later performance style. Although the second album was not a commercial success at the time, it did feature his first hit, 'Space Oddity', which was released the week of the Apollo 11 moon landing - though it didn't reach its peak of number five on the UK singles chart until later, the BBC electing not to play it until the astronauts had returned safely to Earth.

Released in 1971 in the UK (and six months earlier in 1970 in the US), 'The Man Who Sold The World' was the first album where Bowie really cemented the basis of the artist for which he would become known. Featuring the backing band who would also feature on 'The Rise And Fall Of Ziggy Stardust And The Spiders From Mars', the record ditched the folk influences of his previous efforts and opted for a hard rock sound instead. It was here he also began experimenting with his image, exploiting his androgynous features and wearing a dress both on the album's cover and in public.

The 'Ziggy Stardust' album itself arrived in 1972 with possibly Bowie's most famous image as the titular character of the record, which he had been developing for a number of years: an alien rock star bringing the people of Earth a message of hope in the planet's last five years of existence, who then succumbs to the excesses of the rock star lifestyle. Themes of sexuality, drugs and politics assured the album some controversy, and also helped to keep it in the UK album chart for two years. In 1973, becoming concerned that he could no longer separate himself from Ziggy, Bowie abruptly announced the retirement of the character on stage.

His next incarnation, the Thin White Duke, proved similarly difficult to extract from the off-stage Bowie, coming to encompass his struggle with cocaine addiction. The first album in this guise, Bowie's tenth, 'Station To Station', came after the musician filmed his first major movie, 'The Man Who Fell To Earth', in which he played a similar character, many of the songs having been written while he mistakenly thought he had been asked to create the film's soundtrack. Towards the end of this era, a number of incidents led to Bowie being accused of being pro-Fascist, which he later blamed on his by then massive drug intake and obsession with the "nasty" persona he had created.

The next period of his career was influenced more by a city, Berlin - where he moved in 1976 - than a character he had created for himself. Here he worked on two solo albums by Iggy Pop, 'The Idiot' and 'Lust For Life', as well as a trilogy of his own LPs, 'Low', 'Heroes' and 'Lodger'. Following the darker tone of these records, the 80s saw Bowie move back to pop with his fourteenth album 'Scary Monsters (And Super Creeps)', which contained the singles 'Ashes To Ashes' and 'Fashion'.

Having continued to be pretty prolific throughout the 1980s and 1990s, Bowie began to reduce his output and live performances after suffering a heart attack while touring his 23rd album 'Reality' in 2003. A decade passed before he released a new album, 'The Next Day', the creation of which was kept a secret until it was announced on his 66th birthday in 2013. Although appearing in videos for the critically acclaimed album's singles, Bowie did not tour or give interviews promoting the album - his long-time producer Tony Visconti largely speaking to journalists about the record.

Then last year it was announced that Bowie would release a new album, 'Blackstar', on 9 Jan 2016, his 69th birthday. Also acclaimed by critics and fans upon its release, it would become his final record, with the singer dying just two days later.

David Bowie is survived by his second wife Iman and their daughter Alexandria, and his son with first wife Angie, Duncan.

  Approved: PAUW
Dutch psych rock quartet PAUW are set to release their impressive debut album, 'Macrocosm Microcosm', in the UK on 22 Jan. Already highly acclaimed back home, they have their sights set on the rest of the world for 2016.

The album's release was pre-empted with the single 'Visions', a spectral pocket of blunt bass and Pink Floyd-esque guitar. As an introduction to the record it works well, though leaves plenty of layers to the band's sound still to be found.

You'll be about to catch them live on their home turf this week, if you're heading to the Eurosonic Noorderslag festival in the Netherlands. Add them to your list.

Watch the video for 'Visions' here.

Stay up to date with all of the artists featured in the CMU Approved column in 2016 by subscribing to our Spotify playlist.

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Secret 7" project returns for fifth year
Secret 7" has announced its return, with the art and music project now in its fifth year.

As ever, seven acts will each have 100 seven-inch singles pressed up. Those unmarked records will then be slipped into 700 sleeves individually created by numerous different visual artists. They'll all then go on display at Sonos Studios in Shoreditch from 8 Apr to 1 May, before being sold off for £50 each on 2 May.

The seven singles on offer this year are:

John Lennon - Imagine
Etta James - At Last
Max Richter - Dream 3
The Jam - Art School
Tame Impala - The Less I Know The Better
Chvrches - Clearest Blue
Jack Garratt - Worry

Of course, you won't know which you've bought until you get it home and play it. And that's half the fun, I reckon.

If you fancy creating some of the artwork, you can submit your proposed designs at now.

7digital, Lemmy, Tindersticks, more

Other notable announcements and developments today...

• Following its announcement a year ago that it would offer music in a new lower-file-size high-quality format called Master Quality Authenticated, or MQA, 7digital will have indie label content in that format on its B2B and consumer-facing platforms from today. And the 7digital-powered Onkyomusic got in there first by putting MQA files live last week.

• More than 230,000 people tuned in to the live stream of Lemmy's funeral this weekend. Some highlights are on YouTube, including speeches by Dave Grohl, Judas Priest's Rob Halford and Anthrax's Scott Ian.

• Tindersticks will screen their new film project 'The Waiting Room' with a Q&A and acoustic performance at Rough Trade East on 22 Jan.

• Bonnie 'Prince' Billy will be releasing a compilation of John Peel sessions on 22 Jan entitled 'Pond Scum'. Listen to 'Rich Wife Full of Happiness' from the record here.

• It'll be BRITs nominations time again on Thursday. ITV will air a special show at 10.40pm to unveil all the names, and there'll be performances from Years & Years, Jess Glynne and BBC Sound Of 2016 winner Jack Garratt.

Alanis Morissette becomes Guardian agony aunt
Alanis Morissette has been hired as the new agony aunt for the Guardian's Weekend magazine. Her first serving of advice will come in the 16 Jan edition of the supplement.

The musician already has a podcast that touches on relevant subjects to her new role, though with the broader remit of "psychology to art to spirituality to design to health and well-being, to relationships (whether they be romantic or colleagueship or parent with children relationships)".

As for her qualifications for telling people how to live their lives, she says that this has always been her job in her family: "Parents, brothers, even extended family members, that was the role I took on, because I suppose I had this combination of intuition and empathy. I cut my teeth, basically, listening for a living".

Morissette takes over the column from Molly Ringwald.

ANDY MALT | Editor
Andy heads up the team, overseeing the CMU Daily bulletin and website, coordinating features and interviews, reporting on artist and business stories, and contributing to the CMU Approved column.
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CHRIS COOKE | MD & Business Editor
Chris provides music business coverage and analysis. Chris also leads the CMU Insights training and consultancy business and education programme CMU:DIY, and heads up CMU publisher 3CM UnLimited.
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SAM TAYLOR | Commercial Manager & Insights Associate
Sam oversees the commercial side of the CMU media, leading on sales and sponsorship, and advising on CMU Insights training courses and events.
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CARO MOSES | Co-Publisher
Caro helps oversee the CMU media, while as a Director of 3CM UnLimited she heads up the company's other two titles ThisWeek London and ThreeWeeks Edinburgh, and supports other parts of the business.
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