TODAY'S TOP STORY: The Association Of Independent Festivals has urged the UK's Competition & Markets Authority to widen its investigation into Live Nation's position in the British live music business. The competition regulator is already considering the live giant's proposed acquisition of the Isle Of Wight festival... [READ MORE]
Copyright provides creators with control over that which they create, but what happens when the creators themselves don't own the copyright in their work? Artists and songwriters who are no longer in control of their copyrights do still have some rights, sometimes by contract, and via performer and moral rights. With the latter in the news this week, CMU Trends considers what the law says about the rights of artists and songwriters after their copyrights have been assigned. [READ MORE]
Rarely a week goes by in the music business news these days without at least one catalogue acquisition. But who - other than labels and publishers - is buying music rights, and why? Are there opportunities for individual artists and songwriters to do deals with professional investors? And how do you even value music rights? CMU Trends reviews the music rights market - past, present and future. [READ MORE]
While the challenges faced by the music industry since the mainstream adoption of the internet in the early 2000s have been widely documented, the music media has faced many of the same challenges too. CMU Trends reviews recent developments and trends in the music media business, and the ongoing challenges faced by media owners. [READ MORE]
TOP STORIES Indie festivals urge UK competition regulator to widen its investigation into Live Nation's IOW Festival deal
LIVE BUSINESS DEAG and Kilimanjaro take stake in 'Thriller - Live' producer
MARKETING & PR Pre-release promo platform Byta launches Generic Links
DIGITAL & D2F SERVICES SEC met with Spotify to discuss its unconventional route to the stock market
BPI boss responds to Lyor Cohen's safe harbour remarks
MEDIA ITV announces new music show with Syco
ONE LINERS Venues Day, King Krule, Gary Numan, more
AND FINALLY... Bonnie Tyler sang 'Total Eclipse' during a total eclipse
Lex Records are looking for a full-time Digital Marketing Manager to work from our North London office. You would be working as part of the team to present our music to the public and helping to join up promo with sales.

For more information and to apply click here.
The Deltic Group are looking for a Social Media Department Manager to develop and shape the company's social media and marketing activity, working across 58 bars and clubs including well-known brands such as PRYZM, ATIK and Bar & Beyond. This is a newly created role and the successful candidate will have the opportunity to build a social media team.

For more information and to apply click here.
The Deltic Group are looking for Social Media Managers to manage, maintain and grow the company's social communities of circa 1.5 million 18-25-year olds. This is a new team of five that is being formed in order to deliver great content to inspire our social communities and deliver our social strategy.

For more information and to apply click here.
Name PR is looking to hire a Press Assistant/Account Executive. This is a fantastic opportunity for a bright individual with exceptional writing ability and a good grasp of the music business to work on some of the most interesting music issues and developments across the globe.

For more information and to apply click here.
Sunday Best seeks a Product Manager with a minimum of one to two years record label experience. The role involves running a creative campaign from album delivery through to release. The candidate should have a passion for music and a good knowledge of digital marketing.

For more information and to apply click here.
Maximum Boost Management and its associated group of companies are looking for an exceptional and motivated addition to their team. As a direct assistant to a lead artist manager within the business you will be entrusted to support, plan and execute a number of processes on behalf of the manager and their artists.

For more information and to apply click here.
Ninja Tune are hiring for a full-time business affairs position within the record label and publishing company, based in its London office. The role will include producing, negotiating and finalising various contracts.

For more information and to apply click here.
Secretly Group is seeking a Label Assistant/Office Manager for its London office, this is the perfect position for anyone with passion and talent to find their first job in the music industry.

For more information and to apply click here.
Ninja Tune are hiring for a full-time copyright administration position within the record label and publishing company, based in its London office. The role will include registering works with societies, maintaining internal databases, compiling credits and supporting the licensing team.

For more information and to apply click here.
Columbo Group is seeking a Promotions Manager for The Blues Kitchen. As a member of our events team, you will be responsible for the programming and promotion of our live music calendar, as well as the communications and marketing of the restaurant and bar, working alongside a small team of very passionate people. You will have at least twelve months experience in hospitality marketing and a passion for the London scene.

For more information and to apply click here.
Leading independent record label and artist services company Cooking Vinyl Limited are looking for an International Product Manager / International Co-ordinator to support our busy International Department.

For more information and to apply click here.
Independent full service advertising agency Sold Out is looking for a Junior Media Planner to join a vibrant, growing team, contributing to the growth and culture of the company and helping drive the business forward. The successful candidate will be looking to establish a career in media and have a gift for organisation and effective time management.

For more information and to apply click here.
Glasgow Life is the charity responsible for inspiring Glasgow's citizens and visitors to lead richer and more active lives through culture, sport and learning. It is seeking a Business Development Manager to lead on the business development and commercial growth of its Arts, Music & Cultural Venues Service, with specific responsibility for the commercial development of Glasgow Life Tickets, our in-house box office and ticketing operation.

For more information and to apply click here.
Secretly Group is looking for a motivated and ambitious Product Manager to join its London team. Two to four years of music industry experience are essential, although not necessarily specifically in marketing. S/he must have a passion for music and be keen to contribute creative ideas to our European marketing strategy.

For more information and to apply click here.
Domino is looking for a new radio plugger to join its in house promo team. The successful applicant will work within Domino's current radio structure and will have an extensive knowledge of all aspects of UK radio. He or she will need established relationships at radio and a proven track record of working successful releases.

For more information and to apply click here.
Domino is seeking a confident individual to oversee digital account relationships and strategy, based in the London office. The position will lead key partnerships and activity with digital music and video service providers (including Apple Music, Spotify, Amazon, Vevo) across the UK and international markets, excluding North America.

For more information and to apply click here.
RECRUIT YOUR TEAM RIGHT HERE: 020 7099 9060 or ads@unlimitedmedia.co.uk
Digital Deals, Dollars And Trends - Explained!
MASTERCLASS | Monday 18 September 2017, London | INFO
This half day masterclass, presented by CMU MD and Business Editor Chris Cooke, will explain how digital music platforms are licensed and royalties distributed, as well as reviewing the digital market in 2017 and which services are leading in terms of users and revenue.
How The Music Business Works
SEMINARS | from Monday 25 September 2017, London | INFO
Our 'How The Music Business Works' programme consists of eight two-hour seminars which together cover: the various ways the music industry generates revenue, building and engaging a fanbase, the business partnerships artists form with music companies, and how the artist/label relationship is changing.
Enforcing Music Rights - Safe Harbours And Piracy
MASTERCLASS | Monday 20 November 2017, London | INFO
In this half day masterclass, CMU MD and Business Editor Chris Cooke will look at how the music industry enforces its copyrights, at the long-running battle with online music piracy, and at the controversy around the copyright safe harbour.

Indie festivals urge UK competition regulator to widen its investigation into Live Nation's IOW Festival deal
The Association Of Independent Festivals has urged the UK's Competition & Markets Authority to widen its investigation into Live Nation's position in the British live music business. The competition regulator is already considering the live giant's proposed acquisition of the Isle Of Wight festival.

Live Nation - which has divisions operating in tour and festival promotion, venue management, primary and secondary ticketing, and artist management - continues to be acquisitive, not least in the UK where it has bought into a number of touring, festival and venue companies in recent years.

As previously reported, the Competition And Markets Authority announced in April that it would investigate what impact Live Nation's purchase of a majority stake in the IOW Festival would have on the UK live music and festivals market.

AIF has now published research which, it says, shows that Live Nation already controls nearly 25% of the larger festivals market - ie festivals over a 5000 capacity - and that the proposed IOW Festival deal will take it much closer to that figure.

The trade group for independently-owned festivals states: "At present, Live Nation either owns or majority-owns a 23% share of [these 5000+] events by capacity - including Download, V Festival, Reading/Leeds, Parklife, Creamfields, Lovebox, Wilderness and more". The next biggest festival operator in the UK is the also acquisitive Global, but "Live Nation are already almost three times bigger" than the live entertainment wing of Global Radio, which - AIF says - control a 8% share of the UK festival market.

AIF also expresses concerns about the synergies between the different strands of the Live Nation business, and the way that allegedly limits the choices available to artists when deciding which business partners to work with. Says the trade group: "With such concentration of power across the live music value chain, most artists will have little choice but to work with the California-based company at some point in their career".

Going on to consider the impact all this has on independent promoters, the AIF statement then says: "This is already raising concerns around so-called 'exclusivity deals', whereby artists can effectively be restrained as to where they can and cannot perform and the pool of talent available to non-Live Nation events is greatly reduced".

Confirming that his organisation was now urging the CMA to expand its ongoing investigation into the IOW Festival transaction so to consider Live Nation's general position in the UK festivals market, AIF GM Paul Reed said yesterday: "For the sake of its future health and diversity it is vital that the UK's live music sector remains open and competitive. We continually need new artists to break through, and entrepreneurs to launch fresh and exciting events".

He went on: "The live music sector is fiercely competitive, but data we have published today rings several alarm bells - highlighting that a single transnational corporation is fast-headed towards widespread dominance. For independent festival operators, a Live Nation monopoly would quite simply be a stranglehold with profound and serious consequences".

Referencing back to the exclusivity deals issue, Reed added: "The complaint we hear privately from a growing number of AIF members is about the collateral damage caused by the imposition of hugely restrictive exclusivity deals. By their nature, these deals are anti-competitive, restraining when and where even the smallest artist can perform and significantly diminishing the pool of talent that non-Live Nation promoters can draw upon".

Concluding, Reed said: "On this basis, we have urged the CMA to extend their investigations beyond the acquisition of the Isle Of Wight Festival and into Live Nation's position in the market overall".


DEAG and Kilimanjaro take stake in 'Thriller - Live' producer
German live entertainment company DEAG yesterday announced that it was acquiring a majority stake in the UK-based Flying Music Group via its British subsidiary Kilimanjaro.

Flying Music mainly produces musical theatre, and is the company behind the Michael Jackson-celebrating 'Thriller - Live' enterprise, among other projects. DEAG says that the deal gives it a "more heterogeneous and wider range of events" in the UK market, which definitely sounds like fun. It adds that Flying Music has been profitable since its inception and that therefore, via the new acquisition, the wider group is "continuing its strategy of profitable growth in an international environment".

As previously reported, DEAG bought a majority stake in Kilimanjaro back in 2014, though the company is still run by its founder Stuart Galbraith. Confirming the new Flying Music deal yesterday, he discussed how the new alliance continues Kilimanjaro's expansion beyond the traditional gig into other areas of live entertainment such as comedy and theatre.

Said Galbraith: "These are exciting times for DEAG and Kilimanjaro. Our core business of live music is continuously growing. We are expecting to have another record year in 2018 with more than two million tickets sold in the UK. We have also been able to achieve the growth of the last three years by diversifying our business model beyond live music into projects such as 'The Illusionists', Tape Face and 'Dinosaurs In The Wild'".

On the new deal specifically, he went on: "The Flying Music Group deal is another important step in our expansion into West End touring musicals and theatre. The huge experience of Paul and Derek and the Flying Music Group makes it a strong, complementary partner. We're looking forward to working together with DEAG to continue the Flying Music Group's growth in the UK and worldwide".

The there mentioned Paul and Derek are Paul Walden and Derek Nicol, in case you wondered. They are co-CEOs of the Flying Music Group, and they spoke in perfect unison yesterday to say: "As an independent promoter, this is an exciting development for the Flying Music Group".

Still fully unified, they went on: "As our company continues to grow, we're excited to be entering into a new chapter with the combined international strength of Kilimanjaro Live and DEAG behind us. We have known and admired Stuart and his team for many years and are looking forward to working together in the future".


Pre-release promo platform Byta launches Generic Links
During all the chit and the chat about the possible collapse of SoundCloud prior to it securing a new round of funding earlier this month, some people noted that the service remains particularly popular among opinion formers in the music industry and the music media. Many said opinion formers like getting pre-release music via a SoundCloud private link, because then linking through to the track is super-easy, and bookers, programmers, journalists and DJs can easily share the link with other colleagues.

Pre-release promo platform Byta yesterday announced a new 'Generic Links' feature that aims to bring that kind of flexibility to its service. It means artists and labels sharing new music with key opinion formers over its platform - whatever the format being shared - can now send generic links via email or messaging apps that are easy to use and which recipients can then share with any colleagues who also have Byta accounts.

Byta says Generic Links is "a new step forward in private links", adding that "now everyone from the smallest of artists to the biggest companies in the world can create Generic Links, easily shareable in email or via messaging services like iMessage, Facebook Messenger and Skype". Meanwhile founder Marc Brown added: "No matter what's being shared - mixes direct from the studio or albums requiring the tightest security possible - they all come in one simple shareable link".


SEC met with Spotify to discuss its unconventional route to the stock market
US finance regulator the Securities And Exchange Commission last month met with Spotify executives to discuss the streaming firm's plans for a direct listing on the New York Stock Exchange, according to Bloomberg.

As previously reported, Spotify is expected to become a publicly listed company via the somewhat unusual direct listing approach, rather than pursuing a more conventional new-cash-raising Initial Public Offering. It would mean existing shares in the digital music business could be traded on the New York Stock Exchange, but there would be no big new share sale at the point of listing.

Spotify needs to go public sooner rather than later because of the way it structured past loan arrangements, but the firm presumably doesn't want to dilute its existing shareholders' stock by issuing a load more shares. Arguably a direct listing is less risky in PR terms, and less expensive when it comes to admin costs, than a conventional IPO, though it does mean the company starts to receive the scrutiny of being a public company - with obligations to report financials once a quarter - without getting a nice big pile of cash at the outset.

Sources say that it was the SEC who requested the meeting and that conversations between Spotify execs and the regulator continue. It is very likely that the SEC wants more time to scrutinise Spotify's plans simply because it is going with an unconventional approach.

Elsewhere in Spotify shares chatter, which is definitely a thing, Sky News reports that a Goldman Sachs hedge fund has quietly sold off a bunch of its shares in the streaming music firm. Its thought that the private transaction saw Goldman Sachs Investment Partners sell over $75 million of its Spotify stock, though that accounts for less than half of the fund's stake in the digital music firm.

Goldman Sachs is actually one of the banks advising Spotify on its direct listing, alongside Allen Co and Morgan Stanley. So that's all fun, isn't it. Did I mention Spotify has just gone live in Thailand? No? Oh, well, take note please: Spotify has just gone live in Thailand.


BPI boss responds to Lyor Cohen's safe harbour remarks
BPI boss Geoff Taylor has followed the lead of his American counterpart at the RIAA and responded to Lyor Cohen's blog post from last week in which he bigged up the role of YouTube in the music industry's digital future, and played down the significance of the big bad safe harbours.

As previously reported, record industry veteran Cohen - appointed to lead music operations at YouTube nearly a year ago - defended his current employer in the blog post on Friday. YouTube, of course, has become enemy number one for many in the music community in recent years, with record labels and music publishers arguing that the Google firm exploits the copyright safe harbour to secure unfair terms in its licensing deals with music rights owners. To that end, said labels and publishers want safe harbour rules in copyright law rewritten so that services like YouTube no longer qualify for protection.

Cohen argued that the safe harbour is one big distraction, and that the music industry should instead focus on the growth of YouTube advertising sales and its Red subscription service - and the new monies both can generate for the music industry. Plus, he insisted, YouTube remains a valuable marketing channel for new music, and his team is busy further enhancing the promo tools the platform offers artists and their business partners.

The boss of the Recording Industry Association Of America, Cary Sherman, was quick to respond with his own blog post denying safe harbour was a distraction, questioning Cohen's optimism about the potential for a future boom in YouTube royalties, and disputing some of Cohen's figures regarding what YouTube is currently paying to the music community. Yesterday the CEO of UK record industry group BPI, Geoff Taylor, echoed the many of those sentiments.

"Lyor Cohen argues that YouTube's advertising business is growing rapidly", Taylor wrote in a new blog post, "paying out more per stream than other ad-supported services, and is now joined by a subscription business that together will drive the industry to 'a more lucrative place than ever before'. He praises the role of YouTube in breaking new artists and argues that safe harbours allow platforms like YouTube to give a voice to millions of artists, making the industry more competitive and vibrant"

"Sounds good, right?" Taylor continues, before adding "but from a UK perspective, this ignores a few inconvenient truths. Contrary to his claims, in the UK, at least, there is little if any growth in advertising revenues from YouTube. Ad supported revenues from video streaming grew by just 0.4 per cent for UK labels last year, despite rapid growth in use of the platform".

Noting that the YouTube Red subscription service is yet to launch in the UK, Taylor also points out that the video platform does little to upsell the streaming service parent company Google does operate in the UK, ie the Google Play streaming set-up. "YouTube isn't helping to grow our subscriptions business", he says, "it's undermining it. According to research from IPSOS, one in five internet users say they don't pay for music because they get all the music they need from YouTube".

But what about all that free promo YouTube offers, hey Geoff? "YouTube isn't such a great music discovery service as it might like to believe", he reckons. "Research from AudienceNet and from IPSOS shows that two thirds to three quarters of YouTube music users use the service mainly to listen to music that they already know".

So what does that mean? Well, says the BPI boss, "rather than empowering the artist community, as Lyor argues, safe harbours take away an artist's freedom to choose. Artists aren't given the opportunity to decide whether they want their music to appear on the platform, or at what price. For most artists, the only option is to accept pitiful compensation for the use of their work, at a rate dictated by YouTube - since effectively blocking use of their work using the Content ID tool (if it's even available to them) is not realistic".

Content ID, of course, is YouTube's rights management tool that helps labels and publishers manage their content on the platform, in particular when their music appears in videos uploaded by third parties. It's a pretty damn good tool, but - some in the music community say - not as damn good as YouTube claims. And although individual artists can monetise their own videos by becoming a YouTube content partner - which is very easy to do these days - they will usually have to ally with a music distributor to access Content ID.

"Safe harbours are hardly 'a distraction' in the relationship between YouTube and the music industry", Taylor continues. "If the music industry is getting paid around one twentieth as much as it should by one of the biggest users of music on the planet, that's a reasonable thing to obsess about".

"The simple way for YouTube to fix its disconnect with the music industry", he says, "is to confirm publicly that it does not qualify for safe harbour protection for music content, because it does not play a merely neutral, passive and technical role. This should be uncontroversial, given Lyor's claim that most music watch-time on the platform comes from a YouTube recommendation".

Like Sherman at the RIAA, Taylor adds that he believes former record industry man Cohen has good motives, but - he adds - the music industry trade bodies who are busy lobbying for safe harbour reform haven't seen a shift in attitude higher up the command chain at YouTube and the wider Google/Alphabet business.

"I believe that Lyor Cohen sincerely wants YouTube to be a positive force for music", Taylor concludes, "[But] that's going to take more than words. It's going to take a fundamental shift in YouTube's business practices so that it pays for the music it uses at a level similar to competing services".

"It can afford to do so", Taylor adds. "Alphabet, YouTube's parent company, is on course for revenues of $100 billion this year. That's bigger than the GDP of Croatia and Slovenia combined (according to the IMF). If Lyor can persuade the powers at Google to make such a change, he will be a hero to even more people in music".


ITV announces new music show with Syco
With the BBC recently announcing its new regular music programme and a one-off Harry Styles special, ITV has bounced back with its own music brag in the form of a new show called 'Your Song', a sort of 'CD:UK' meets 'Surprise Surprise'. Don't worry, it's only a one off special. For now at least.

Emma Willis will host the programme, which will see "real people who have done something extraordinary" (so bad news for fans of fictional people who do things that are ordinary) personally serenaded by a pop star. A pop star the extraordinary real person likes I should add. Providing the researchers on 'Your Song' do their job properly.

The show is being made by ITV's frequent partners on musical television, Simon Cowell's Sony Music unit Syco and telly making giant FremantleMedia. The one-off will air this autumn. Long-term plans for the format aren't known, though you suspect that if the special is a hit with viewers a proper series could be commissioned.

Say's Syco's telly chief Nigel Hall: "'Your Song' is an extremely exciting project that we have been developing for some time. We are now delighted it is coming to fruition. And we are sure it will bring surprise, entertainment and emotion to everyone at home. We all have that special song which means the world to us - and it will be really exciting to see superstars perform them for their biggest fans".

Adds presenter Willis: "This is such an amazing show to be part of... imagine seeing somebody you love, and who is so deserving, being surprised with the performance of a lifetime by their musical hero!" Are you imagining it? Well, are you? Are there tears, hugs and happiness in your imagined scenario? That's what Willis is imagining. "I think there'll be plenty of tears, hugs and happiness!" says she. Marvelous.


CMU's sister magazine ThreeWeeks Edinburgh is covering the Edinburgh Festival this month. Each day we'll pick a bit of ThreeWeeks content, championing great new theatre, comedy, cabaret, dance, music, musicals and spoken word.

We last checked in with dance company Company Chordelia in 2015 when they presented their show 'Nijinsky's Last Jump'. This year they return with a fascinating piece exploring the character and story of Lady Macbeth. Three men take on the role in the show, which also incorporates British Sign Language into the choreography, giving BSL practitioners an alternative perspective. I spoke to the company's Artistic Director Kally Lloyd-Jones about her new production, what drew her to the character of Lady Macbeth, and her tie-up with co-producer Solar Bear on the BSL element of the show.

CLICK HERE to read the interview.

Check out all of ThreeWeeks Edinburgh Festival cover here and sign up to the TW Daily email bulletin here

Venues Day, King Krule, Gary Numan, more

Other notable announcements and developments today...

• The Music Venue Trust has announced the addition of a new strand to its Venues Day event called Venue Futures, which will be curated by Deviate Digital's Sammy Andrews. The strand will give "tech companies, digital marketing companies and start-ups the chance to connect with independent venues from all over the UK". Venues Day is 17 Oct. Companies interested in taking part in Venue Futures should email info@deviate.digital by 4 Sep.

• The final speakers have been announced for the London edition of the FastForward music industry event, with Ticketmaster's Sophie Crosby, Sony Music's Dusko Justic and Sony/ATV's Miranda Kempin among the latest additions to the line up. The Association Of Independent Music is also offering five emerging labels the chance to win free tickets to the conference. FastForward London is on 15 Sep.

• The other band members have been cast in the long-in-development Queen biopic that is finally in production. Ben Hardy will play Roger Tayor, Gwilym Lee will play Brian May and Joe Mazzello will play John Deacon. As previously reported, Rami Melk is on board to play Freddie Mercury.

• King Krule has posted a one-minute teaser video featuring new music onto the Facebooks. How very modern.

New Gary Numan track everybody! 'And It All Began With You' comes from Numan's 22nd album 'Savage (Songs From A Broken World)', which is out on 15 Sep via BMG.

Here's the video for latest Ride single 'Cali'. It's described as a "psychedelic surf video" and a "kaleidoscopic video". So that's fun.

• Liam Payne, Rita Ora, The Vamps, Camila Cabello and Dua Lipa will all perform at BBC Radio 1's Teen Awards 2017 at Wembley Arena on 22 Oct. Excited? No? Are you a 'teen'? Then fuck off then. Assuming you said "no" to that last question. This one liner only really works if you said "no" to that last question.


Bonnie Tyler sang 'Total Eclipse' during a total eclipse
So, I'm in Jamaica at the moment and I can confirm that the solar eclipse this far south was a whole lot less impressive than the solar eclipse website I consulted suggested it was going to be.

I mean, it was never going to be a total eclipse down here, but I was hoping for a bit more than just having to trust the locals that the sun wasn't quite as bright as you'd normally expect for 2pm in the afternoon.

But, further north - across parts of the USA and its coastline - the sun was indeed totally eclipsed. Want to see Bonnie Tyler sing 'Total Eclipse Of The Heart' during the moment of daytime darkness with Joe Jonas's band DNCE? Of course you do. Click here to consume.

As previously reported, Tyler was booked to perform her pop rock classic during the eclipse by a cruise company, which was parking its ship in the path of totality. Said cruise company has now posted some clips of that performance online.

True, it does kinda look like Tyler is just singing her hit on a cloudy day, but you do get to see some people wearing silly glasses staring into the sky, so swings and roundabouts I guess.


ANDY MALT | Editor
Andy heads up the team, overseeing the CMU bulletins and website, coordinating features and interviews, reporting on artist and business stories, and contributing to the CMU Approved column.
Email andy@unlimitedmedia.co.uk (except press releases, see below)
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.
Email chris@unlimitedmedia.co.uk (except press releases, see below)
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.
Email sam@unlimitedmedia.co.uk or call 020 7099 9060
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.
Email caro@unlimitedmedia.co.uk
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