News Article | May 10, 2017
VANCOUVER, BC--(Marketwired - May 10, 2017) - Jetlines Ltd. (TSX VENTURE: JET) (the "Company" or "Jetlines") is very pleased to announce the appointment of Jason Grant as an independent director, effective immediately. Over the last 20 years, Mr. Grant has been directly involved in raising more than US$800 million in aviation and transportation capital while carrying out key financial, operational and leadership roles in the airline, transportation, logistics and private equity sectors. From 2002 to 2010, Mr. Grant was employed by Atlas Air Worldwide Holdings, a cargo airline, passenger charter airline, and aircraft lessor with revenue of over $1 billion. At Atlas Air Mr. Grant held various financial and operating positions, including Chief Financial Officer, leading two successful capital raises totalling US$475 million. Mr. Grant managed a group of 130 professionals in the USA, Asia and Europe, overseeing all financial, investor relations, business development, and information technology functions. During Mr. Grant's tenure as Chief Financial Officer, the equity market capitalization of the Company grew by over 250% to over $1.5 billion. From 2010 to 2013, Mr. Grant was the Executive Vice President, Chief Financial Officer and Chief Commercial Officer of United Maritime Group LLC ("UMG"), a Jefferies Capital Partners LLC portfolio company. While at UMG, Mr. Grant led an operational transformation that significantly grew earnings and margins, and executed the successful sale of UMG's three operating divisions to three separate strategic buyers. From 1997 to 2002, Mr. Grant held progressively senior roles at American Airlines and Canadian Airlines. Currently, Mr. Grant is Managing Partner of Headhaul Capital Partners LLC ("Headhaul Capital"), a New York based private equity investment firm he co-founded in 2014 which specializes in acquiring and building businesses in the Transportation, Logistics & Distribution industries. "Jason brings an exceptional depth of knowledge and experience to Jetlines," stated Mr. Mark Morabito, Executive Chairman of Jetlines. "He has excelled in numerous senior executive roles at well-known legacy carriers and leading transportation and freight companies, developing strategic finance and cost management structures, as well as leading multiple substantial capital raises and commercial initiatives. Jason's expertise will be invaluable to Jetlines as we continue to execute on our strategy." Mr. Grant holds a Bachelors in Business Administration from Wilfred Laurier University and a Masters in Business Administration from Simon Fraser University. Jetlines has granted a total of 225,000 stock options to Mr. Grant. The stock options have been issued for a five-year term, with one quarter vesting every six months from the date of grant. At the time of the closing of the business combination transaction on February 28, 2017, the Company did not consolidate its series of warrants that were issued September 16, 2014 and expire September 16, 2019 (the "September 2014 Warrants"). The September 2014 Warrants trade on the TSX Venture Exchange under the symbol "JET.WT". The terms of the certificates for the September 2014 Warrants provide for an automatic adjustment. Currently an investor would need to exercise 1.5 of the September 2014 Warrants in order to acquire one share of the Company at an exercise price of $0.375 per one share. The Company will consolidate the September 2014 Warrants on the basis of every 1.5 pre-consolidation September 2014 Warrants for one post-consolidation September 2014 Warrant (the "Warrant Consolidation"). This will not have an economic impact on the holders of the September 2014 Warrants. The Warrant Consolidation is being completed solely to facilitate trading of the September 2014 Warrants on the TSX Venture Exchange, as one warrant will now entitle a holder to acquire one share at an exercise price of $0.375 per share. This adjustment is only being made to the September 2014 Warrants and the terms of the Company's other outstanding warrants remain unchanged. The September 2014 Warrants will begin trading on a post-consolidated basis on the TSX Venture Exchange on May 17, 2017. The trading symbol will remain "JET.WT". The table below provides an example of the position of a holder who held 15,000 of the September 2014 Warrants both before and after the Warrant Consolidation. The Company also announces that the board of directors of the Company has approved an amendment to the Company's stock option plan in order to increase the maximum number of common shares that may be issued pursuant thereto to 11,525,000. This will facilitate the ongoing recruitment of additional team members by allowing the Company to provide long-term incentives aimed at achieving the Company's growth plans. This amendment is subject to TSX Venture Exchange acceptance and shareholder approval at the Company's next Annual General Meeting of shareholders. In addition, the Company will require specific shareholder approval for any new grants of options that are part of the increased maximum. Jetlines is executing its business plan to become Canada's first "pure version" ultra-low cost carrier ("ULCC") airline. Pure version ULCC airlines like easyJet, Wizz Air, Ryan Air and Spirit Airlines, use more cost saving techniques than "discount airlines within a major airline", like the failed discount airline "Zip" (2002 to 2004) created by Air Canada, the failed discount airline "Ted" (2002 - 2008) created by United Airlines, or the failed discount airline "Song" (2003 to 2006) created by Delta Airlines. Jetlines will use the proven and profitable commercial aviation ULCC model to create new passengers with low airfares, and plans to retain these passengers by demonstrating a "passion for service". Jetlines plans to operate flights throughout Canada and provide non-stop service from Canada to the United States, Mexico and the Caribbean, starting with six Boeing 737 aircraft in its first year of operations. Jetlines has an experienced management team and Board and has received an exemption from the Government of Canada that will permit it to conduct domestic air services while having up to 49% foreign voting interests. For more information on Jetlines, please visit our website at www.jetlines.ca. ON BEHALF OF THE BOARD This news release contains "forward-looking information" concerning anticipated developments and events that may occur in the future. Forward looking information contained in this news release includes, but is not limited to, statements with respect to with respect to: (i) the future contributions of Mr. Grant, (ii) the execution of Jetlines strategy; and (iii) the business plan and future airline operations of the Company. In certain cases, forward-looking information can be identified by the use of words such as "plans", "expects" or "does not expect", "is expected", "budget", "scheduled", "estimates", "forecasts", "intends", "anticipates" or "does not anticipate", or "believes", or variations of such words and phrases or state that certain actions, events or results "may", "could", "would", "might" or "will be taken", "occur" or "be achieved" suggesting future outcomes, or other expectations, beliefs, plans, objectives, assumptions, intentions or statements about future events or performance. Forward-looking information contained in this news release is based on certain factors and assumptions regarding, among other things, the accuracy, reliability and applicability of the Jetlines' business model; the timely receipt of governmental approvals, including the receipt of approval from regulators in Canada, the United States, Mexico and other jurisdictions where Jetlines may operate; the timely commencement of operations by Jetlines and the success of such operations; the ability of Jetlines to implement its business plan as intended; the legislative and regulatory environments of the jurisdictions where the Jetlines will carry on business or have operations; the impact of competition and the competitive response to the Jetlines' business strategy; and the availability of aircraft. While the Company considers these assumptions to be reasonable based on information currently available to it, they may prove to be incorrect. Forward looking information involves known and unknown risks, uncertainties and other factors which may cause the actual results, performance or achievements of the Company to be materially different from any future results, performance or achievements expressed or implied by the forward-looking information. Such factors include risks related to acts of God, the impact of general economic conditions, changing domestic and international airline industry conditions, volatility of fuel prices, increases in operating costs, terrorism, pandemics, currency fluctuations, interest rates, risks specific to the airline industry, the ability of management to implement Jetlines' operational strategy, the ability to attract qualified management and staff, labour disputes, regulatory risks, including risks relating to the acquisition of the necessary licenses and permits, financing, capitalization and liquidity risks, including the risk that the financing necessary to fund operations may not be obtained and the additional risks identified in the "Risk Factors" section of the Company's reports and filings with applicable Canadian securities regulators. Although the Company has attempted to identify important factors that could cause actual actions, events or results to differ materially from those described in forward-looking information, there may be other factors that cause actions, events or results not to be as anticipated, estimated or intended. Accordingly, readers should not place undue reliance on forward-looking information. The forward-looking information is made as of the date of this news release. Except as required by applicable securities laws, the Company does not undertake any obligation to publicly update or revise any forward-looking information. Neither the TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in the policies of the TSX Venture Exchange) has reviewed or accepts responsibility for the adequacy or accuracy of this release.
News Article | May 15, 2017
In April, SoulCycle, the chain of boutique fitness studios with 78 locations in 15 markets, launched its first-ever brand campaign, featuring a two-minute spot starring actual sweaty, attractive class instructors. As the music swells, they explain that SoulCycle–and its cult following–is not about the bike but rather about the rider. With the company expecting to add another 15 studios this year, the ads target both newbies and veteran cyclists in the company’s biggest markets (New York, Los Angeles, San Francisco), where there’s almost always a trendy new fitness option. Despite the ad’s vociferous stance regarding soul versus cycle, the campaign debuted just a month before the company introduced a major redesign of its signature SoulBike. “Our riders are getting stronger, physically and mentally,” says CEO Melanie Whelan. “We want to continue to evolve the equipment and the workout for them.” In partnership with Colorado-based Stages Indoor Cycling, SoulCycle focused on making the bike more customizable, especially the handlebars, which had been thick and static. The new ones are thinner and can move forward and backward, which makes them easier to grip and adjustable for different body types and exercises. The bike’s new magnetic-resistance, carbon-fiber belt drive creates a smoother ride while requiring less testing, cutting 1,200 hours of weekly maintenance by a third. Meanwhile, small angle changes to the bars correct posture by adding wrist support. The new bikes rolled out in New York studios in May, with 6,000 bikes to be replaced this year. “We tested these at our New York headquarters,” Whelan says. “Even some of our master instructors were sore for days after.” Milestones: SoulCycle just opened its first studio outside the U.S., in Toronto, with a Vancouver debut planned for the summer. Challenges: Stationary bike maker Peloton has created an on-demand, at home spin experience to try to disrupt SoulCycle’s so far in-studio-only offerings. The hottest new consumer-electronics device of 2017 has been a system that combines the on-the-go nature of smartphone gaming with the power and detail of a home console. The Nintendo Switch, as it’s known, sold a reported 1.5 million units in the first two weeks of launch, making it the fastest-selling console in Nintendo history. As of the end of March, it has sold 2.74 million units globally. Part of the Switch’s beauty is its simple design. Users can undock the central, 6.2-inch touch screen and attach the two controllers to either side for an experience akin to Nintendo’s handheld DS device. The other key component is the games themselves, particularly The Legend of Zelda: Breath of the Wild, which players have lauded as the best addition to the Zelda franchise in years because of its open-world, discovery-based format. Nintendo needed to get the Switch right. Its most recent console, the Wii U, failed to establish value to customers over the original Wii and reportedly sold around 85 million fewer units than the company had anticipated. Amid criticism that Nintendo should move away from its console business and focus on opportunities such as its first major mobile game for Apple’s iOS, 2016’s Super Mario Run, and Pokémon Go, the Switch proves that for Nintendo, as with Apple, hardware and software go hand in hand. “If we were only a game developer, there’s no way we could have introduced Wii Sports, because there was no platform before Wii with motion control,” says Nintendo of America president and COO Reggie Fils-Aimé. “Game developers can’t take advantage of technology that doesn’t exist.” Milestones: Nintendo unveiled plans to work with Universal on a theme park in Osaka, Japan, which will debut before the 2020 Tokyo Olympics. Challenges: Xbox is expected to have a new console by the holidays, while Sony is still riding the success of its PlayStation 4 Pro. This spring, Vail Resorts, one of the largest ski-area operators in the world, extended its colossal reach with its first East Coast acquisition, Vermont’s Stowe Mountain. The timing of the buy wasn’t accidental. Late spring and summer, when skiing and snowboarding drop off, are actually Vail’s most important time of the year, because this is the moment when it starts to market next season’s Epic Pass, which offers unlimited access to 45 ski areas around the world. Over the past few years, Vail has used the off-season to beef up the $859 Epic Pass, by acquiring Canada’s Whistler Blackcomb in 2016 and Australia’s Perisher Mountain in 2015. The Stowe purchase allows Vail, which is concentrated in the western half of the U.S., to make a compelling bid for the skiing set in New York and Boston, offering access to a coveted weekend spot as well as its destination locations in Colorado and Utah. Each Epic Pass sold brings both revenue–sales now make up 40% of lift income–and data on Vail’s active skiers. The most important information is where they come from and how long they stay. Visitors who ski four or more days are likelier to buy an Epic Pass, while information on skiers’ home bases has determined Vail’s recent strategy of acquiring small mountains outside major cities such as Detroit, Minneapolis, and Chicago. “There are more skiers in Chicago than the entire state of Colorado,” says CMO Kirsten Lynch. “The whole concept of, Oh, a season pass is for locals. . . . We’ve completely shattered that myth.” Milestones: Annual Epic Pass growth is an impressive 16%, and the company expects to sell 650,000 Epic Passes for the 2017-2018 season. Challenges: If climate change starts to shorten the ski season, it will put more pressure on Vail to make its resorts off-season destinations as well. Milestones: In a move that could smooth the way for an IPO, the music-streaming giant struck a licensing deal with Universal Music Group that will allow UMG artists to restrict new albums to paid Spotify subscribers for up to two weeks post-release, making Spotify more attractive to premium artists such as Taylor Swift, whose label Big Machine is distributed by UMG. Similar major-label deals are likely to follow. Challenges: Spotify still needs to prove that it can be a profitable streaming service, which means continuing to convert free users into paid subscribers. Milestones: The new Galaxy S8 smartphone earned widespread praise for its nearly bezel-less design, which gives it one of the highest screen-to-body ratios on the market. Challenges: Samsung is still mired in a corruption scandal involving top executives, like company chief Lee Jae-yong, who was indicted in February. Milestones: By summer, eBay will guarantee delivery within three days for more than 20 million eligible items that are for sale on its site. Many of these items will also come with free shipping. Challenges: eBay is playing catch-up with Amazon and Walmart, and it’s still struggling to customize its experience for individual users. Milestones: Yelp‘s Grubhub competitor Yelp Eat24 has started testing self-driving robot delivery carts in San Francisco in partnership with robotics company Marble. Diners unlock their meals inside the automaton via a pass code Yelp texts them upon delivery. Challenges: Facebook is coming for Yelp again, both as a listings destination and a food-delivery service by integrating smaller partners such as Slice and Delivery.com into its pages. Milestones: General Motors is testing a new subscription car business called Book by Cadillac, which lets customers willing to spend $1,500 a month serially swap out one Caddy for another. The new model is part of GM’s plan to target places with falling car ownership, like New York, where the plan debuted. Challenges: GM has been riding the national post-recession wave of high automobile sales, especially with the popularity of SUVs and trucks as gas prices remain low. But with car sales starting to slip, it will need to keep coming up with ways to optimize resources (like its recent divestment of Europe’s Opel brand) to fund its investment in future technologies. Milestones: In March, Cisco completed its $3.7 billion acquisition of AppDynamics, a software startup that monitors app performance. The deal gives Cisco a lot of fresh data to work with, which will be especially important as it builds out its cloud business. Challenges: Cisco’s legacy network-equipment business is under threat from cloud-computing giants like Amazon, Google, and Oracle. Milestones: Amid the closing of 100 U.S. stores, Macy’s is pinning its hopes on outlet sales. Backstage, its discount store within its stores, is opening 30 new locations this year, including its first in the Southeast. Challenges: The shop-within-a-shop model is part of Macy’s effort to make in-store visits more worthwhile. Apple and Sunglass Hut installations inside Macy’s have been a win, but Men’s Wearhouse tuxedo shops floundered. Milestones: Bargain grocery store Aldi is making its first leap into China through e-commerce. It is using Alibaba’s Tmall platform to sell things like breakfast foods, snacks, and wines. Challenges: Aldi’s revolutionary cost cutting has forced major grocery stores to chase it, which in turn pushes Aldi to lower prices further, squeezing its margins even more. Milestones: The chip-maker acquired Mobileye, the Israel-based company that creates cameras and sensors for autonomous vehicles, to increase its presence in the self-driving-car race. Challenges: Intel has a mediocre track record when it comes to integrating big acquisitions, such as 2010’s failure to incorporate McAfee’s security tech into Intel products. With Mobileye, $15 billion and entrée into one of tech’s next big platforms ride on making it work. Milestones: The design- and experience-focused hostel chain has been acquired by the private-equity firm Queensgate Investments, which plans to infuse more than $320 million into Generator as part of a future major European expansion. Challenges: Hotel companies have noted the success of Generator and are now launching their own stylish hostel brands, including AccorHotels’ new Jo&Joe. Milestones: Skype Lite, a version of the video-messaging service tailored to lower-speed, 2G networks common across India, came out this year. Microsoft is also working with LinkedIn on Project Sangam, a cloud service for job seekers in the world’s second-most populous country. Challenges: Microsoft needs to keep attracting more developers to Azure, its cloud-computing platform, as evidenced by its acquisition of Deis in April, a small open-source tool that helps developers work efficiently with apps across the cloud and physical machines.
News Article | May 17, 2017
The global content and media group showcase power of content, bringing Hollywood stars and industry legends to the Festival stages Lions Entertainment, the specialist two-day event dedicated to the future of the entertainment industry, on June 21-22 as part of the Cannes Lions International Festival of Creativity, has today announced Vivendi as its main sponsor. Vivendi - and its principal businesses - Universal Music Group (UMG), Canal+ Group, Gameloft, Vivendi Village and Dailymotion - will showcase how content and talent can contribute value to the branded communications community through their involvement. Lions Entertainment was launched in 2016 in response to the convergence of the entertainment industry and brands. Vivendi, the global content and media group, works across the media and entertainment value chain, from talent discovery to the creation, production and distribution of audio-visual content and increases its involvement at this year's Cannes Lions. Lucien Boyer, Chief Marketing Officer of Vivendi, will make a keynote speech on how brands can collaborate in the creative process from an early stage, and explain the new opportunities for multiplatform storytelling; together with Sir William Sargent, Chief Executive Officer & Co-Founder of Framestore, who will talk about his company's partnership with Studiocanal on the successful feature film Paddington. Sir Lucian Grainge, Universal Music Group Chairman & CEO, has been announced as the Cannes Lions Media Person of the Year, the first music executive honoured with the award; and Olivier Robert-Murphy, Global Head of New Business for Universal Music Group, is the President of the Lions Entertainment Music jury. The global music company will also be represented on stage, with stars including Ellie Goulding, Nick Jonas and Lang Lang. Dailymotion will unveil its brand-new platform and user experience, focused on premium content, at this year's Cannes Lions and a press conference will be led by Maxime Saada, Chairman and CEO of Dailymotion and also Chief Executive Officer of Canal+ Group. Vivendi will also host a Cabana next to the Palais in Cannes, where visitors will be able to discover and experience the rich entertainment and brand solutions offered in particular by Universal Music & Brands, Canal Brand Factory, Gameloft Advertising, Vivendi Village and the new Dailymotion. Lucien Boyer, Chief Marketing Officer of Vivendi, said, "Content and entertainment marketing has become a strategically important way for brands to reconnect with consumers through storytelling and engaging experiences. This is why Vivendi has renewed its partnership with Lions Entertainment for a second year - to showcase how content and talent can provide impactful solutions and insights to marketers, reaching out to a global audience." Louise Benson, Festival Director of Lions Entertainment, said, "Lions Entertainment is playing a vital role in bridging the relationship between brands and the entertainment ." Cannes Lions International Festival of Creativity The International Festival of Creativity, also known as Cannes Lions, is the world's leading celebration of creativity in communications and encompasses Lions Health, Lions Innovation and Lions Entertainment. Founded in 1954, the Festival takes place every June in Cannes, France. As the most prestigious international annual advertising and communications awards, over 43,000 entries from all over the world are showcased and judged at the Festival. The eight-day Festival is the only truly global meeting place for professionals working in advertising and communications. A community of 15,000 attendees from nearly 100 countries attend eight days of workshops, exhibitions, screenings, master classes and high-profile seminars presented by renowned worldwide industry leaders. Winning companies receive the highly coveted Lion trophy, a global benchmark of creative excellence, for Creative Data, Creative Effectiveness, Cyber, Design, Digital Craft, Direct, Film, Film Craft, Glass: The Lion for Change, Health & Wellness, Innovation, Entertainment, Media, Mobile, Music, Outdoor, Pharma, PR, Print & Publishing, Product Design, Promo & Activation, Radio, Titanium and Integrated Lions. The Festival is also the only truly global meeting place for advertisers, advertising and communication professionals. Cannes Lions is an Ascential event.www.canneslions.com About Vivendi Vivendi is an integrated content and media group. The company operates businesses throughout the media value chain, from talent discovery to the creation, production and distribution of content. Universal Music Group is engaged in recorded music, music publishing and merchandising. It owns more than 50 labels covering all genres. Canal+ Group is engaged in pay-TV in France, as well as in Africa, Poland and Vietnam. Its subsidiary Studiocanal is a leading European player in production, sales and distribution of movies and TV series. Gameloft is a worldwide leader in mobile games, with 2 million games downloaded per day. Vivendi Village, groups together Vivendi Ticketing (in the United Kingdom, the United States and France), MyBestPro (expert counseling), Watchever (subscription streaming services), Radionomy (digital radio), the venues L'Olympia and Theatre de L'?uvre in Paris, and CanalOlympia in Africa, as well as Olympia Production. With 3 billion videos viewed each month, Dailymotion is one of the biggest video content aggregation and distribution platforms in the world. www.vivendi.com, www.cultureswithvivendi.com
News Article | May 1, 2017
Universal Music Group Chairman & CEO is first music executive honoured with award The Cannes Lions International Festival of Creativity today announced that Sir Lucian Grainge, Chairman & Chief Executive Officer of Universal Music Group (UMG), will be honoured as the 2017 Media Person of the Year at the annual Festival. Grainge is the first music executive to be recognised since the award launched in 1999. Media Person of the Year recognises innovators who have shaped the future of media. The award will be presented to Grainge at a ceremony on Wednesday, 21 June 2017, during the Festival. During a career spanning nearly four decades in the music business, Grainge signed and worked with many global stars, including ABBA, Justin Bieber, Elton John, Jay Z, Katy Perry, Queen, Rihanna, The Rolling Stones, Sam Smith, U2 and Amy Winehouse. Widely credited for laying the foundation that has led to the music industry's return to growth after more than a decade of decline, Grainge developed new approaches to the signing and development of global recording artists and songwriters and championed innovative business models and created partnerships with a wide range of international technology and media partners. Philip Thomas, CEO of Ascential Events, organisers of Cannes Lions, said, "Through creative drive, passion and outstanding leadership, Sir Lucian has made bold investments in music and technology that helped return the industry to growth, while continuing to foster an environment that puts artists first. During his tenure, Grainge has transformed Universal Music Group into a world leader in music-based entertainment and we're delighted to honour him as this year's Media Person of the Year." Grainge commented, "While today's music industry is virtually unrecognizable from the business I started in, one thing that hasn't changed is that great artists and great music remain at the heart of everything we do. We are proud to demonstrate how traditional media businesses can reinvent themselves in the age of streaming, leverage new technologies and work closely with brand partners to develop exciting opportunities for artists, labels and fans. On behalf of everyone at UMG and all of our recording artists and songwriters, we're very thankful to Cannes Lions for this honour." In 2011, Grainge led UMG's successful acquisition of the recorded music assets of the legendary British music company EMI, revitalizing its iconic Capitol Records, and, in the process, further strengthening UMG's position as the global leader in music. Under his leadership, the company set numerous creative records including being the first music company to score all 10 of the top 10 spots on the Billboard Hot 100. In 2016, Grainge was knighted by Her Majesty Queen Elizabeth II in the Queen's 90th Birthday Honours list for accomplishments in the music industry and leadership through its challenging times, contributions to British business and inward investment. Grainge also serves on the boards of Lionsgate Entertainment Corp., a premier next generation global content leader, and Northeastern University in Boston, Massachusetts. About Cannes Lions International Festival of Creativity The International Festival of Creativity, also known as Cannes Lions, is the world's leading celebration of creativity in communications and encompasses Lions Health, Lions Innovation and Lions Entertainment. Founded in 1954, the Festival takes place every June in Cannes, France. As the most prestigious international annual advertising and communications awards, over 43,000 entries from all over the world are showcased and judged at the Festival. The eight-day Festival is the only truly global meeting place for professionals working in advertising and communications. A community of 15,000 attendees from nearly 100 countries attend eight days of workshops, exhibitions, screenings, master classes and high-profile seminars presented by renowned worldwide industry leaders. Winning companies receive the highly coveted Lion trophy, a global benchmark of creative excellence, for Creative Data, Creative Effectiveness, Cyber, Design, Digital Craft, Direct, Film, Film Craft, Glass: The Lion for Change, Health & Wellness, Innovation, Entertainment, Media, Mobile, Music, Outdoor, Pharma, PR, Print & Publishing, Product Design, Promo & Activation, Radio, Titanium and Integrated Lions. The Festival is also the only truly global meeting place for advertisers, advertising and communication professionals. www.canneslions.com Ascential Events Ascential Events is an international business-to-business media company with a focused portfolio of large-scale exhibitions, congresses and festivals. Our product lines include the prestigious Cannes Lions International Festival of Creativity, the world's premier market leading payments and financial services innovation congress Money 20/20, the UK's largest trade show Spring Fair International and the award-winning education technology show Bett. Ascential Events is part of Ascential plc, which transforms knowledge businesses to deliver exceptional performance. www.ascential.com. Contact:
News Article | May 1, 2017
During a career spanning nearly four decades in the music business, Grainge signed and worked with many worldwide stars, including ABBA, Justin Bieber, Elton John, Jay Z, Katy Perry, Queen, Rihanna, The Rolling Stones, Sam Smith, U2 and Amy Winehouse. Widely credited for laying the foundation that has led to the music industry's return to growth after more than a decade of decline, Grainge developed new approaches to the signing and development of global recording artists and songwriters and championed innovative business models and created partnerships with a wide range of international technology and media partners. Philip Thomas, CEO of Ascential Events, organisers of Cannes Lions, said, "Through creative drive, passion and outstanding leadership, Sir Lucian has made bold investments in music and technology that helped return the industry to growth, while continuing to foster an environment that puts artists first. During his tenure, Grainge has transformed Universal Music Group into a world leader in music-based entertainment and we're delighted to honour him as this year's Media Person of the Year." Grainge commented, "While today's music industry is virtually unrecognizable from the business I started in, one thing that hasn't changed is that great artists and great music remain at the heart of everything we do. We are proud to demonstrate how traditional media businesses can reinvent themselves in the age of streaming, leverage new technologies and work closely with brand partners to develop exciting opportunities for artists, labels and fans. On behalf of everyone at UMG and all of our recording artists and songwriters, we're very thankful to Cannes Lions for this honour." In 2011, Grainge led UMG's successful acquisition of the recorded music assets of the legendary British music company EMI, revitalizing its iconic Capitol Records, and, in the process, further strengthening UMG's position as the global leader in music. Under his leadership, the company set numerous creative records including being the first music company to score all 10 of the top 10 spots on the Billboard Hot 100. In 2016, Grainge was knighted by Her Majesty Queen Elizabeth II in the Queen's 90th Birthday Honours list for accomplishments in the music industry and leadership through its challenging times, contributions to British business and inward investment. Grainge also serves on the boards of Lionsgate Entertainment Corp., a premier next generation global content leader, and Northeastern University in Boston, Massachusetts. To view the original version on PR Newswire, visit:http://www.prnewswire.com/news-releases/sir-lucian-grainge-named-cannes-lions-media-person-of-the-year-2017-300448450.html
News Article | May 1, 2017
The award will be presented to Grainge at a ceremony on Wednesday, 21 June 2017, during the Festival. The Media Person of the Year award recognises innovators who have shaped the future of media. During a career spanning nearly four decades in the music business, Grainge signed and worked with many worldwide stars, including ABBA, Justin Bieber, Elton John, Jay Z, Katy Perry, Queen, Rihanna, The Rolling Stones, Sam Smith, U2 and Amy Winehouse. Widely credited for laying the foundation that has led to the music industry's return to growth after more than a decade of decline, Grainge developed new approaches to the signing and development of global recording artists and songwriters and championed innovative business models and created partnerships with a wide range of international technology and media partners. Philip Thomas, CEO of Ascential Events, organisers of Cannes Lions, said, "Through creative drive, passion and outstanding leadership, Sir Lucian has made bold investments in music and technology that helped return the industry to growth, while continuing to foster an environment that puts artists first. During his tenure, Grainge has transformed Universal Music Group into a world leader in music-based entertainment and we're delighted to honour him as this year's Media Person of the Year." Grainge commented, "While today's music industry is virtually unrecognizable from the business I started in, one thing that hasn't changed is that great artists and great music remain at the heart of everything we do. We are proud to demonstrate how traditional media businesses can reinvent themselves in the age of streaming, leverage new technologies and work closely with brand partners to develop exciting opportunities for artists, labels and fans. On behalf of everyone at UMG and all of our recording artists and songwriters, we're very thankful to Cannes Lions for this honour." In 2011, Grainge led UMG's successful acquisition of the recorded music assets of the legendary British music company EMI, revitalizing its iconic Capitol Records, and, in the process, further strengthening UMG's position as the global leader in music. Under his leadership, the company set numerous creative records including being the first music company to score all 10 of the top 10 spots on the Billboard Hot 100. In 2016, Grainge was knighted by Her Majesty Queen Elizabeth II in the Queen's 90th Birthday Honours list for accomplishments in the music industry and leadership through its challenging times, contributions to British business and inward investment. Grainge also serves on the boards of Lionsgate Entertainment Corp., a premier next generation global content leader, and Northeastern University in Boston, Massachusetts.
News Article | February 15, 2017
vantage.tv delivers another innovation in a string of virtual reality developments that allow fans to have immersive control of their live event experience by offering viewers the first ever opportunity to buy a VR ticket to a full-length concert in virtual reality with the Eric Church performance from the 10th installment of the Stagecoach Festival. The vantage.tv virtual reality experience offers 180 and 360-degree views from the audience and stage using eight camera positions and immersive audio powered by DTS Headphone:X®. The experience has been made available online at http://www.vantage.tv. The concert, produced in partnership with DTS, Stagecoach, and UMG Nashville, delivers an immersive way for fans to control their live event experience. Fans will be immersed in the live performance as Church plays his biggest hits like 3x Platinum-certified “Springsteen” and songs off his latest album Mr. Misunderstood including his recent No. 1 hit “Record Year” and “Knives of New Orleans.” With the VR experience, fans can even be there when the crowd, true to Church’s rowdy show, throws their boots on stage during Church’s performance of his famous “These Boots.” Through a unique partnership with DTS, vantage.tv features an immersive virtual reality audio experience never before available. DTS Headphone:X® technology delivers full surround sound with head tracking technology to provide the listener an enhanced level of realism by connecting the soundscape’s orientation to the virtual environment. Members of the vantage.tv team have been producing virtual reality fan experiences for over a decade. The company has created several groundbreaking VR experiences to date, filming and producing immersive experiences at renowned music festivals (Austin City Limits Music Festival, Coachella, Lollapalooza, and Outside Lands), esports competitions, and public events like the Obama Farewell Address. During a typical VR event, the vantage.tv team produces a VR live stream broadcast with five to eight 360 VR video cameras--garnering critical acclaim and millions of online views over the years. Fans are invited to create their own experience during Eric Church’s 13 song performance by choosing between alternate camera angles like the multiple camera director’s cut or the front row view. Full access to this VR event can be purchased for $19.99 for a VR Ticket to experience the concert performance and $34.99 for the VR Ticket + VR Viewer bundle. About vantage.tv vantage.tv uses the latest in technology to deliver immersive virtual reality experiences, teleporting fans to premium live events around the world. Founded in 2014, vantage.tv partners with major music festivals, esports competitions, and other groundbreaking live events, giving remote fans the opportunity to experience it for themselves. With the launch of Eric Church’s concert performance from Stagecoach, vantage.tv is the first company to release a full-length ticketed virtual reality concert. Based in Los Angeles, CA, vantage.tv’s mission is to make live events enjoyable at any time from any place through the power of virtual reality.
News Article | February 28, 2017
CALGARY, ALBERTA--(Marketwired - Feb. 28, 2017) - Blackhawk Resource Corp. ("Blackhawk" or the "Corporation") (TSX VENTURE:BLR) is pleased to announce that the financial statements and MD&A for its second quarter ended December 31, 2016 have been filed on Sedar. Blackhawk continues to hold numerous equity investments, and has begun to strategically focus its investments in e-sports. As part of this focus, the equity portion of its portfolio includes a significant investment in a private eSports company, UMG Media Corp. ("UMG"). UMG has involvement in both live tournament events as well as on line match play. On February 27, 2017, UMG completed an equity financing at $1.50 per share which increases the fair value of Blackhawk's investment from $1,250,000 to $4,792,500. The increase of investments at fair value results in a NAV per share of $0.15. The Corporation continues to review both equity and debt investment opportunities. The goal of this strategy is to build a portfolio of investments, which is expected to include equity, debt instruments and direct asset investments in certain situations which will continue to provide positive cash flow returns. As at December 31, 2016, the Corporation held total investments of $2,805,965 comprised of equity type investments of $1,715,223 and debt type investments of $1,090,742. In addition, the Corporation held a cash balance of $44,106. As of February 27, 2017, the value of the Corporation's total investments has increased to $6,243,465. This increase from December 31, 2016 is mainly due to the increase in the value of the UMG investment. Additional information is available on our website at www.blackhawkcorp.ca. Neither the TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in the policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this release. NON-GAAP OR NON IFRS FINANCIAL MEASURES This press release includes references to "net asset value per share ("NAV per share")," a financial measure that does not have a standardized meaning prescribed by generally accepted accounting principles (GAAP) or International IFRS. NAV per share is calculated as the value of total assets less the value of total liabilities divided by the total number of common shares outstanding as at a specific date. Investors are cautioned that this non-GAAP measure should not be construed as an alternative to the measurement calculated in accordance with IFRS as, given its non-standardized meaning; it is unlikely to be comparable to similar measures presented by other issuers. This news release contains forward-looking statements as defined under applicable securities laws. Statements other than statements of historical fact contained in this news release may be forward-looking statements under applicable securities legislation, including, without limitation, management's expectations. Many of these statements can be identified by looking for words such as "believe", "expects", "will", "intends", "projects", "anticipates", "estimates", "continues" or similar words or the negative thereof. To the extent any forward-looking statements herein constitute a financial outlook, including, without limitation, the estimated effect on the Corporation's revenues, they were approved by management as of the date hereof and have been included to assist readers in understanding management's current expectations regarding the Corporation's financial performance and are subject to the same risks and assumptions disclosed herein. There can be no assurance that the plans, intentions or expectations upon which these forward-looking statements are based will occur. Statements containing forward-looking information by their nature involve numerous assumptions and significant known and unknown facts and uncertainties of both a general and a specific nature. The forward-looking statements contained herein are subject to numerous known and unknown risks that may cause actual results to vary from those set forth in the forward-looking statements, including, but not limited to risks associated with: general economic conditions and changes in the financial markets; risks associated with investment Corporation businesses; a material change in the operations of an investment Corporation or the industries in which they operate; and key assumptions. As forward-looking statements are subject to risks, uncertainties and assumptions and should not be read as guarantees or assurances of future performance. Accordingly, readers are cautioned not to place undue reliance on any forward-looking information contained in this news release as a number of factors could cause actual future results, conditions, actions or events to differ materially from the targets, expectations, estimates or intentions expressed in the forward-looking statements. Statements containing forward-looking information reflect management's current beliefs and assumptions based on information in its possession on the date of this news release. Although management believes that the assumptions reflected in the forward-looking statements contained herein are reasonable, there can be no assurance that such expectations will prove to be correct. The forward-looking statements contained herein are expressly qualified in their entirety by this cautionary statement. The forward-looking statements included in this news release are made as of the date of this news release and the Corporation does not undertake or assume any obligation to update or revise such statements to reflect new events or circumstances except as expressly required by applicable securities legislation.
Vivendi 2016 Revenues of 10.819 bn 0.5 , EBIT of 1.194 bn 2.9 , Earnings Attributable to Vivendi SA Shareowners of 1.256 bn 35 , Earnings from Continuing Operations Attributable to Vivendi SA Shareowners of 1.236 bn 77
News Article | February 23, 2017
Vivendi's Supervisory Board met today under the chairmanship of Vincent Bolloré and reviewed the Group’s Consolidated Financial Statements for the year ended December 31, 2016, which were approved by the Management Board on February 16, 2017. In the Financial Statements: - Revenues remained relatively stable at €10.8 billion, reflecting the contrasting results in the Group’s business segments: -Earnings attributable to Vivendi SA shareowners of €1,256 million, down 35%, of which earnings attributable to Vivendi SA shareowners from continuing operations, after non-controlling interests of €1,236 million, up 77.0%. As of December 31, 2016, the net cash position amounted to €1.1 billion, bearing in mind that the return to shareholders was particularly large in 2016, amounting to €4.2 billion. Vivendi is building a global content and media group, a very attractive business sector in the 3rd millennium. It owns powerful and complementary assets in this industry, which it gets to work together in order to extract greater value from them. The Group owns the three most widely consumed forms of content in the world: music, video games and audiovisual, and holds leading positions in the three most dynamic sectors of the creative industries: music with Universal Music Group, video games with Gameloft and audiovisual with Canal+ Group. Alongside its content creation capacity, Vivendi has its own distribution capabilities and, to ensure its content gets maximum exposure, establishes partnerships with telecom operators and invests in digital and physical distribution networks. The Group therefore relies on two growth drivers: creation and distribution. Producing and distributing relevant content requires in-depth consumer knowledge, data leveraging and supporting the shift to mobile advertising. This ambitious strategy is made possible thanks to its main shareholder, the family-owned Bolloré Group (it will hold 29% of voting rights in April 2017), which provides the long-term stability that is needed. In 2017, revenues should increase by more than 5% and, thanks to the measures taken in 2016, EBITA should increase by around 25%. The Management Board confirmed to the Supervisory Board that this year it would propose the distribution of an ordinary dividend of €0.40 per share with respect to 2016. While building a group creating high long-term value, the cash flow generated by Vivendi allows the Group to provide a 2% yield on its shares (2.35% with the closing stock price of February 22, 2017). Furthermore, the Group may continue to undertake share repurchases depending on market conditions. Universal Music Group’s (UMG) revenues amounted to €5,267 million, up 4.4% at constant currency compared to 2015 (+3.1% on an actual basis), driven by growth across all divisions. Recorded music revenues grew 2.9% at constant currency thanks to the growth in subscription and streaming revenues (+57.9 %), which more than offset the decline in both download and physical sales. Music publishing revenues grew 6.7% at constant currency, also driven by increased subscription and streaming revenues, as well as growth in synchronization and performance income. Merchandising and other revenues were up 16.1% at constant currency thanks to stronger touring activity. Recorded music best sellers for the year included new releases from Drake, Rihanna, Ariana Grande and The Rolling Stones, as well as carryover sales from Justin Bieber. UMG’s income from operations amounted to €687 million, up 10.7% at constant currency compared to 2015 (+9.8% on an actual basis). This favorable performance reflected the benefit of both revenue growth and cost savings. UMG’s EBITA amounted to €644 million, up 9.1% at constant currency compared to 2015 (+8.4% on an actual basis). EBITA included legal settlement income and restructuring charges in 2016 and 2015. In recent months, UMG entered into several agreements with the estate of the late artist Prince and NPG Records Inc., becoming the home for Prince’s music publishing, merchandise and much of his recorded music. UMG is now the exclusive worldwide publishing administrator for all of the artist's released and unreleased songs and the exclusive worldwide branding and licensing partner. It also holds the exclusive licensing rights to certain of his NPG recordings, including some Grammy-winning songs, as well as the right to compile and release albums from his unreleased recordings. Canal+ Group revenues amounted to €5,253 million, down 4.7% compared to 2015. Revenues from pay-TV operations in mainland France were down 6.1% year-on-year. This change was primarily due to a decline of the individual subscriber base (down 492,000 year-on-year to 5.25 million subscribers), despite a strong improvement in business performance towards the end of the year following the launch of the new Canal offers in mid-November 2016. Moreover, Canal+ Group entered into agreements with Free and Orange during the fourth quarter of 2016 pursuant to which the Canal TV offer can be included in the set-top boxes of these operators (only the fiber offer for Orange). Revenues from pay-TV international operations grew by 5.7% compared to 2015, thanks to continued growth in the subscriber base, particularly in Africa where the year-on-year increase amounted to 692,000 to reach nearly 2.8 million subscribers at the end of December 2016. At the end of December 2016, Canal+ Group had increased its subscriber base to approximately 11.5 million individual subscribers and 2.9 million Free and Orange customers under the aforementioned partnerships. Advertising revenues from free-to-air channels in mainland France were up 6.9% year-on-year, notably thanks to C8, which was the most watched DTT channel in France and the fifth most watched channel overall at the end of 2016. Among its primary target audience of 25-49 year old, C8 was the fourth most watched French channel with an average share of 4.4% in 2016. Studiocanal's revenues amounted to €416 million, down 26.1% compared to the record high achieved in 2015, which benefited from exceptional performances with the success of several movies, including Paddington, Shaun the Sheep, Imitation Game, Legend and Hunger Games. Canal+ Group's income from operations amounted to €303 million, compared to €542 million in 2015, and EBITA amounted to €240 million, compared to €454 million in 2015. This change was mainly due to the decline in the individual subscriber base in mainland France (excluding wholesale agreements) and content investments. EBITA from Canal+ channels in France5 amounted to a €399 million loss, compared to a €264 million loss in 2015. Gameloft’s revenues amounted to €132 million for the second half of 2016. As a reminder, Vivendi has fully consolidated Gameloft since June 29, 2016; Gameloft’s revenues amounted to €125 million for the first half of 2016. Gameloft’s dynamic growth accelerated compared to the first half of 2016. Gameloft’s operations in the second half of the year were notably driven by the strong development of its mobile advertising agency, Gameloft Advertising Solutions. The continued long-term success of games such as Asphalt 8: Airborne, Dungeon Hunter 5, Dragon Mania Legends, March of Empires and Modern Combat 5: Blackout and the successful launch of Disney Magic Kingdoms in 2016 also contributed to a strong second half performance. Gameloft benefited from improved monetization of services for existing games and from a more efficient and targeted user acquisition policy. Year-end was especially dynamic for Gameloft, with sales reaching a historic high of €69 million for the fourth quarter of 2016. The games released in 2016 accounted for 14% of Gameloft’s sales during the second half of 2016. Disney Magic Kingdoms in particular has been a stand out since its launch by Gameloft in March 2016, notably in Japan where the game, which is distributed in partnership with GungHo, was the most downloaded game on iOS and Google Play upon its release. During the second half of 2016, two thirds of Gameloft’s sales were generated by internally developed franchises which continue to grow as a percentage of sales. Gameloft franchises represented 57% of sales in 2013, 60% in 2014, 64% in 2015, and 67% in the second half of 2016. The goal is to continue to create new franchises every year and, at the same time, to strengthen the appeal of the existing franchises. Gameloft’s income from operations amounted to €10 million for the second half of 2016 thanks to a sharp increase in revenues and fewer operating costs. The income from operations’ margin stood at 7.6%, a level that Gameloft had not achieved since the second half of 2013. Gameloft’s EBITA amounted to €7 million for the second half of 2016. Vivendi Village’s revenues amounted to €111 million, a 10.9% increase compared to 2015 (+14.7% at constant currency and +3.8% at constant currency and perimeter). Over the same period, Vivendi Village’s income from operations and EBITA amounted to losses of €7 million and €9 million, respectively. Vivendi Village continues to serve as a lab for experimentation and a launch pad for new projects for the entire Group thanks in particular to the flexibility offered by small organizational structures. Vivendi Ticketing generated revenues of €52 million in 2016 and significantly improved its income from operations (+11.8% compared to 2015). MyBestPro (web-based expert counseling) continued to perform well in 2016 with an 11.3% increase in revenues and a 23.5% increase in income from operations compared to 2015. Despite a difficult environment following the November 2016 Paris bombings, L’Olympia almost maintained the same level of revenues in 2016 as the year before by increasing its initiatives, in particular partnerships and events. The Théâtre de L’Œuvre in Paris was re-launched in October 2016 with an original program line-up. Since early 2017, Olympia Production has coproduced the ambitious tour of Slimane, the 2016 winner of the The Voice France. CanalOlympia has successfully opened three new cinema and entertainment venues in Africa since the beginning of the year and will open a fourth one in Burkina Faso on February 24, 2017. Revenues generated by New Initiatives, which groups together Dailymotion (since June 30, 2015) and Vivendi Content, amounted to €103 million, compared to €43 million in 2015. Dailymotion, a global video platform with 300 million unique users per month and 3 billion video views, began a major transformation plan in 2016. Over the past few months, Dailymotion has strengthened its technical infrastructure, optimized its monetization tools, improved the quality of its audience and taken measures to remove explicit content incompatible with its new premium positioning. Dailymotion intends to offer its users a new experience allowing them to better discover and watch videos, including live videos, directly related to their individual interests and desires. To do this, Dailymotion will rely on the content provided by the hundreds of contributors (publishers, media groups) around the world with whom it has established partnerships. This new experience will be available in the second quarter of 2017, with the worldwide launch of a completely revamped user interface for all screen types, particularly mobile screens, which will mark an important step in Dailymotion’s transformation. Vivendi Content is a business dedicated to developing new content formats aimed at an international audience in close collaboration with the Group’s other businesses. It includes Studio+, an offer of short premium digital series specifically designed for mobile devices which was launched in Latin America and Europe during the fourth quarter of 2016, and Vivendi Entertainment which produces original formats for television shows. Vivendi Content also includes the Group’s initiatives in the field of e-sports. New Initiatives’ income from operations amounted to a €44 million loss in 2016, compared to an €18 million loss in 2015. EBITA amounted to a €56 million loss, compared to a €20 million loss in 2015. Notes 1 In compliance with IFRS 5, GVT (sold in 2015), has been reported as a discontinued operation. In practice, income and charges from this business have been reported as follows: 2 Constant perimeter reflects the impacts of the acquisitions of Dailymotion on June 30, 2015, Radionomy on December 17, 2015, Alterna’TV (Thema America) on April 7, 2016, Gameloft on June 29, 2016 and the licence of the Paddington Bear on June 30, 2016. 3 A reconciliation of EBIT to EBITA and to income from operations, as well as a reconciliation of earnings attributable to Vivendi SA shareowners to adjusted net income, are presented in Appendix IV. 4 Non-GAAP measures. 5 Relates to the six premium channels: Canal+, Canal+ Cinéma, Canal+ Sport, Canal+ Séries, Canal+ Family and Canal+ Décalé. Note: This press release contains audited consolidated earnings established under IFRS, which were approved by Vivendi’s Management Board on February 16, 2017, reviewed by the Vivendi Audit Committee February 20, 2017, and by Vivendi’s Supervisory Board on February 23, 2017. For additional information, please refer to the “Financial Report and audited Consolidated Financial Statements for the year ended December 31, 2016” which will be released later online on Vivendi’s website (www.vivendi.com). About Vivendi Vivendi is an integrated media and content group. The company operates businesses throughout the media value chain, from talent discovery to the creation, production and distribution of content. Universal Music Group is engaged in recorded music, music publishing and merchandising. It owns more than 50 labels covering all genres. Canal+ Group is engaged in pay-TV in France, as well as in Africa, Poland and Vietnam. Its subsidiary Studiocanal is a leading European player in production, sales and distribution of movies and TV series. Gameloft is a worldwide leader in mobile games, with 2 million games downloaded per day.Vivendi Village, groups together Vivendi Ticketing (in the United Kingdom, the United States and France), MyBestPro (expert counseling), Watchever (subscription streaming services), Radionomy (digital radio), the venues L’Olympia and Theâtre de L‘Œuvre in Paris, and CanalOlympia in Africa, as well as Olympia Production. With 3 billion videos viewed each month, Dailymotion is one of the biggest video content aggregation and distribution platforms in the world. www.vivendi.com, www.cultureswithvivendi.com Important Disclaimers Cautionary Note Regarding Forward-Looking Statements. This press release contains forward-looking statements with respect to the financial condition, results of operations, business, strategy, plans and outlook of Vivendi, including the impact of certain transactions and the payment of dividends and distributions, as well as share repurchases. Although Vivendi believes that such forward-looking statements are based on reasonable assumptions, such statements are not guarantees of future performance. Actual results may differ materially from the forward-looking statements as a result of a number of risks and uncertainties, many of which are outside our control, including, but not limited to, the risks related to antitrust and other regulatory approvals as well as any other approvals which may be required in connection with certain transactions and the risks described in the documents of the Group filed by Vivendi with the Autorité des Marchés Financiers (the French securities regulator), which are also available in English on Vivendi's website (www.vivendi.com). Investors and security holders may obtain a free copy of documents filed by Vivendi with the Autorité des Marchés Financiers at www.amf-france.org, or directly from Vivendi. Accordingly, we caution readers against relying on such forward looking statements. These forward-looking statements are made as of the date of this press release. Vivendi disclaims any intention or obligation to provide, update or revise any forward-looking statements, whether as a result of new information, future events or otherwise. Unsponsored ADRs. Vivendi does not sponsor an American Depositary Receipt (ADR) facility in respect of its shares. Any ADR facility currently in existence is “unsponsored” and has no ties whatsoever to Vivendi. Vivendi disclaims any liability in respect of any such facility. Speakers: Arnaud de Puyfontaine Chief Executive Officer Hervé Philippe Member of the Management Board and Chief Financial Officer Media invited on a listen-only basis. The conference will be held in English. Internet: The conference can be followed on the Internet at: www.vivendi.com (audiocast) On our website www.vivendi.com will be available dial-in numbers for the conference call and for replay (14 days), an audio webcast and the slides of the presentation. In millions of euros, except per share amounts. As a reminder, GVT (sold in 2015) has been reported as a discontinued operation in compliance with IFRS 5. In practice, income and charges from this business has been reported as follows: For any additional information, please refer to the “Financial Report and Audited Consolidated Financial Statements for the year ended December 31, 2016“, which will be released online later on Vivendi’s website (www.vivendi.com). In millions of euros, except per share amounts. The reconciliation of EBIT to EBITA and to income from operations, as well as of earnings attributable to Vivendi SA shareowners to adjusted net income is presented in the Appendix IV. a. Constant perimeter reflects the impacts of the following acquisitions: The reconciliation of EBIT to EBITA and to income from operations is presented in the Appendix IV. Income from operations, adjusted earnings before interest and income taxes (EBITA), and adjusted net income, non-GAAP measures, should be considered in addition to, and not as a substitute for, other GAAP measures of operating and financial performance. Vivendi considers these to be relevant indicators of the group’s operating and financial performance. Vivendi Management uses income from operations, EBITA and adjusted net income for reporting, management and planning purposes because they provide a better illustration of the underlying performance of continuing operations by excluding most non-recurring and non-operating items. As reported in the Consolidated Statement of Earnings. Nota : As a reminder, in compliance with IFRS 5, GVT (sold on May 28, 2015) has been reported as a discontinued operation. SELECTED KEY CONSOLIDATED FINANCIAL DATA FOR THE LAST FIVE YEARS Vivendi deconsolidated GVT, SFR, Maroc Telecom group and Activision Blizzard as from May 28, 2015, November 27, 2014, May 14, 2014, and October 11, 2013, respectively, i.e., the date of their effective sale by Vivendi. In compliance with IFRS 5, these businesses have been reported as discontinued operations for the relevant periods as set out in the table of selected key consolidated financial data below in respect of data reflected in the Consolidated Statement of Earnings and Consolidated Statement of Cash Flows. In millions of euros, number of shares in millions, data per share in euros. a. The non-GAAP measures of Income from operations, EBITA, Adjusted net income, Net Cash Position (or Financial Net Debt), Cash flow from operations (CFFO) and Cash flow from operations after interest and income tax paid (CFAIT) should be considered in addition to, and not as a substitute for, other GAAP measures of operating and financial performance as presented in the Consolidated Financial Statements and the related Notes, or as described in this Financial Report. Vivendi considers these to be relevant indicators of the group’s operating and financial performance. Each of these indicators is defined in the appropriate section of this Financial Report or in its Appendix. In addition, it should be noted that other companies may have definitions and calculations for these indicators that differ from those used by Vivendi, thereby affecting comparability. b. On April 21, 2016, Vivendi’s General Shareholders’ Meeting approved the payment of an ordinary dividend of €3 per share with respect to fiscal year 2015, i.e., an aggregate dividend payment of €3,951 million. This amount included €2,588 million paid in 2016: €1,318 million for the second interim dividend of €1 per share, paid on February 3, 2016, and €1,270 million representing the balance of €1 per share, paid on April 28, 2016. c. In 2015, Vivendi paid the dividend with respect to fiscal year 2014 (€1 per share, i.e., €1,363 million) and a first interim dividend with respect to fiscal year 2015 (€1 per share, i.e., €1,364 million). d. On June 30, 2014, Vivendi SA paid an ordinary dividend of €1 per share to its shareholders from additional paid-in capital, treated as a return of capital distribution to shareholders.
News Article | February 23, 2017
Vivendi construit un Groupe mondial de contenus et de médias, secteur très attractif du 3ème millénaire. Il dispose d’actifs puissants dans cette industrie, qu’il fait travailler ensemble pour dégager plus de valeur en les complétant. Le Groupe possède les trois premiers contenus consommés dans le monde : la musique, les jeux vidéo et l’audiovisuel, et détient des positions de leader sur les trois segments les plus dynamiques des industries créatives : dans la musique avec Universal Music Group, dans les jeux vidéo mobiles avec Gameloft et dans l’audiovisuel avec Groupe Canal+. Parallèlement à la création, Vivendi s’appuie sur ses propres capacités de distribution et, pour offrir une exposition maximale à ses contenus, établit des partenariats avec des opérateurs telcos et investit dans des réseaux de distribution numériques et physiques. Le Groupe dispose donc de deux moteurs de croissance : la création et la distribution. Produire et distribuer des contenus pertinents nécessite de bien connaître le consommateur, de valoriser la data et d’accompagner le basculement des investissements publicitaires vers le mobile. Au cours des derniers mois, UMG a signé plusieurs accords avec les héritiers de Prince et NPG Records Inc, devenant la maison d'édition musicale, de merchandising et de la plupart de la musique enregistrée de l’artiste. Il est ainsi devenu l’éditeur exclusif mondial des chansons publiés et inédites de l’artiste et le partenaire exclusif mondial pour la marque et les licences. Il détient également les droits de licence exclusifs de certains enregistrements de NPG Records Inc, dont ceux ayant gagné des Grammies, ainsi que le droit de compiler et de sortir des albums issus des enregistrements inédits. Le chiffre d’affaires des activités de télévision payante en France métropolitaine recule de 6,1 % sur un an. Cette évolution est essentiellement liée à la décroissance du portefeuille d’abonnés individuels (en recul de 492 000 sur un an à 5,25 millions d’abonnés), malgré une forte amélioration des performances commerciales en fin d’année à la suite du lancement des nouvelles offres Canal mi-novembre 2016. Par ailleurs, Groupe Canal+ a conclu au quatrième trimestre 2016 des accords avec Free et Orange permettant d’inclure l’offre TV de Canal dans les boxes de ces opérateurs (uniquement pour l’offre fibre pour Orange). La dynamique de croissance de Gameloft s’est accélérée au second semestre 2016. L’activité est notamment portée par la très forte croissance de sa régie publicitaire mobile, Gameloft Advertising Solutions. Le succès continu depuis plusieurs années de jeux tels qu’Asphalt 8 : Airborne, Dungeon Hunter 5, Dragon Mania Legends, March of Empires et Modern Combat 5 : Blackout et le lancement réussi de Disney Magic Kingdoms en 2016 contribuent aussi à la bonne performance du second semestre. Gameloft bénéficie enfin d’une meilleure monétisation des services de jeux existants ainsi que d’une politique d’acquisition d’utilisateurs plus ciblée et plus efficace. La fin d’année est particulièrement dynamique pour Gameloft dont les ventes atteignent un plus haut historique à 69 millions d’euros au quatrième trimestre 2016. Deux tiers de ventes de Gameloft au second semestre 2016 sont réalisées avec ses propres franchises de jeux qui continuent de progresser en pourcentage des ventes. En 2013, les licences Gameloft représentaient 57 % des ventes, 60 % en 2014, 64 % en 2015 et 67 % au second semestre 2016. L’objectif est de continuer de créer de nouvelles marques chaque année et de consolider en parallèle l’attrait des licences existantes. La solide croissance du chiffre d’affaires et la baisse des coûts opérationnels permettent à Gameloft de générer un résultat opérationnel courant (ROC) de 10 millions d’euros au second semestre 2016. La marge opérationnelle courante s’établit donc à 7,6 %, niveau qui n’avait plus été atteint depuis le second semestre 2013. Le chiffre d’affaires de Vivendi Village s’élève à 111 millions d’euros en 2016, en hausse de 10,9 % par rapport à 2015 (+14,7 % à taux de change constant et +3,8 % à taux de change et périmètre constants). Sur la même période, Vivendi Village enregistre une perte opérationnelle courante (ROC) de 7 millions d’euros et une perte opérationnelle ajustée (EBITA) de 9 millions d’euros. Vivendi Village continue d’être un terrain d’expérimentations et de lancement de nouveaux projets pour l’ensemble du Groupe, bénéficiant notamment de la souplesse d’organisation propre aux petites structures. Olympia Production coproduit depuis début 2017 l’ambitieuse tournée de Slimane, vainqueur de The Voice en 2016. CanalOlympia a ouvert avec succès trois nouvelles salles de cinéma et de spectacle en Afrique depuis le début de l’année et s’apprête à en ouvrir une quatrième le 24 février 2017 au Burkina Faso. Dailymotion, plateforme mondiale de vidéos attirant 300 millions de visiteurs uniques par mois pour 3 milliards de vidéos vues, a engagé en 2016 un important plan de relance. Au cours des derniers mois, Dailymotion a ainsi renforcé ses infrastructures techniques, optimisé ses outils de monétisation, assaini son audience et pris des mesures pour éliminer les contenus explicites incompatibles avec son nouveau positionnement premium. Dailymotion entend en effet proposer à ses utilisateurs une nouvelle expérience permettant de mieux découvrir et consommer des vidéos, y compris en live, directement en lien avec les centres d’intérêt et les envies de chacun. Dailymotion s’appuiera pour cela sur les contenus issus de centaines de partenariats noués dans le monde entier avec différents contributeurs de premier plan (éditeurs, groupes média, etc.). Vivendi Content est une entité qui développe de nouveaux formats de contenus à vocation internationale en étroite collaboration avec les autres entités du Groupe. Elle comprend notamment Studio+, une offre de séries digitales courtes et premium destinée plus particulièrement aux mobiles, lancée au dernier trimestre 2016 en Amérique latine et en Europe, et Vivendi Entertainment qui produit des formats originaux pour des émissions de flux. Vivendi Content rassemble également les initiatives du Groupe dans le domaine de l’e-sport. 2 Le périmètre constant permet de retraiter les impacts des acquisitions de Dailymotion le 30 juin 2015, Radionomy le 17 décembre 2015, Alterna’TV (Thema America) le 7 avril 2016, Gameloft le 29 juin 2016 et de la licence de l’Ours Paddington le 30 juin 2016. 3 Pour la réconciliation de l’EBIT à l’EBITA et au ROC, ainsi que du résultat net, part du groupe, au résultat net ajusté, voir annexe IV. 4 Mesures à caractère non strictement comptable. 5 Correspond aux six chaînes premium : Canal+, Canal+ Cinéma, Canal+ Sport, Canal+ Séries, Canal+ Family et Canal+ Décalé. A propos de Vivendi Groupe industriel intégré dans les médias et les contenus, Vivendi est présent sur toute la chaîne de valeur qui va de la découverte des talents à la création, l’édition et la distribution de contenus. Universal Music Group est le leader mondial de la musique présent tant dans la musique enregistrée que l’édition musicale et le merchandising. Il dispose de plus de 50 labels couvrant tous les genres musicaux. Groupe Canal+ est le numéro un de la télévision payante en France, présent également en Afrique, en Pologne et au Vietnam. Sa filiale Studiocanal occupe la première place du cinéma européen en termes de production, vente et distribution de films et de séries TV. Gameloft est un des leaders mondiaux des jeux vidéo sur mobile, fort de 2 millions de jeux téléchargés par jour. Vivendi Village rassemble Vivendi Ticketing (billetterie au Royaume-Uni, aux Etats-Unis et en France), MyBestPro (conseil d’experts), Watchever (service de streaming par abonnement), Radionomy (audionumérique), la salle de spectacles L’Olympia et le Théâtre de L’Oeuvre à Paris, les salles de spectacles CanalOlympia en Afrique et Olympia Production. Avec 3 milliards de vidéos vues par mois, Dailymotion est l’une des plus grandes plateformes d’agrégation et de diffusion de contenus vidéo au monde. www.vivendi.com, www.cultureswithvivendi.com Avertissement Important Déclarations prospectives. Le présent communiqué de presse contient des déclarations prospectives relatives à la situation financière, aux résultats des opérations, aux métiers, à la stratégie et aux perspectives de Vivendi, y compris en termes d’impact de certaines opérations ainsi que de paiement de dividendes, de distribution et de rachats d’action. Même si Vivendi estime que ces déclarations prospectives reposent sur des hypothèses raisonnables, elles ne constituent pas des garanties quant à la performance future de la société. Les résultats effectifs peuvent être très différents des déclarations prospectives en raison d'un certain nombre de risques et d'incertitudes, dont la plupart sont hors de notre contrôle, notamment les risques liés à l'obtention de l'accord d'autorités de la concurrence et d’autres autorités réglementaires ainsi que toutes les autres autorisations qui pourraient être requises dans le cadre de certaines opérations et les risques décrits dans les documents déposés par Vivendi auprès de l'Autorité des Marchés Financiers, également disponibles en langue anglaise sur notre site (www.vivendi.com). Les investisseurs et les détenteurs de valeurs mobilières peuvent obtenir gratuitement copie des documents déposés par Vivendi auprès de l'Autorité des Marchés Financiers (www.amf-france.org) ou directement auprès de Vivendi. Le présent communiqué de presse contient des informations prospectives qui ne peuvent s'apprécier qu'au jour de sa diffusion. Vivendi ne prend aucun engagement de compléter, mettre à jour ou modifier ces déclarations prospectives en raison d’une information nouvelle, d’un évènement futur ou de tout autre raison. ADR non sponsorisés. Vivendi ne sponsorise pas de programme d’American Depositary Receipt (ADR) concernant ses actions. Tout programme d’ADR existant actuellement est « non sponsorisé » et n’a aucun lien, de quelque nature que ce soit, avec Vivendi. Vivendi décline toute responsabilité concernant un tel programme. Le résultat opérationnel courant (ROC), le résultat opérationnel ajusté (EBITA - adjusted earnings before interest and income taxes) et le résultat net ajusté (ANI - adjusted net income), mesures à caractère non strictement comptable, doivent être considérés comme des informations complémentaires, qui ne peuvent se substituer à toute mesure des performances opérationnelles et financières du groupe à caractère strictement comptable et Vivendi considère qu’ils sont des indicateurs pertinents des performances opérationnelles et financières du groupe. La Direction de Vivendi utilise le résultat opérationnel courant, le résultat opérationnel ajusté et le résultat net ajusté dans un but informatif, de gestion et de planification car ils illustrent mieux les performances des activités et permettent d’exclure la plupart des éléments non opérationnels et non récurrents. Vivendi a déconsolidé GVT, SFR, le groupe Maroc Telecom et Activision Blizzard respectivement à compter du 28 mai 2015, du 27 novembre 2014, du 14 mai 2014 et du 11 octobre 2013, dates de leur cession effective par Vivendi. En application de la norme IFRS 5, ces métiers sont présentés comme des activités cédées ou en cours de cession pour les périodes concernées dans le tableau des chiffres clés consolidés infra pour les données issues des comptes de résultat et des tableaux de flux de trésorerie. a. Le résultat opérationnel courant (ROC), le résultat opérationnel ajusté (EBITA), le résultat net ajusté (ANI), la position nette de trésorerie (ou l’endettement financier net), les flux nets de trésorerie opérationnels (CFFO) et les flux nets de trésorerie opérationnels après intérêts et impôts (CFAIT), mesures à caractère non strictement comptable, doivent être considérés comme une information complémentaire qui ne peut se substituer à toute mesure des performances opérationnelles et financières à caractère strictement comptable, telles que présentées dans les états financiers consolidés et leurs notes annexes, ou citées dans le rapport financier, et Vivendi considère qu’ils sont des indicateurs pertinents des performances opérationnelles et financières du groupe. Chacun de ces indicateurs est défini dans le rapport financier ou à défaut dans son annexe. De plus, il convient de souligner que d’autres sociétés peuvent définir et calculer ces indicateurs de manière différente. Il se peut donc que les indicateurs utilisés par Vivendi ne puissent être directement comparés à ceux d’autres sociétés.