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 | 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 | 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.
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 | December 19, 2016
PARIS, Dec.19, 2016 /PRNewswire/ -- (NYSE: LYV) Live Nation France, a Live Nation Entertainment company, today announced the launch of #NP, a new artist management company in France, in partnership with Pascal Nègre who will act as the new company's CEO. #NP is an artist management company with the primary purpose of servicing the artist on all levels from recorded music to live, with a focus on digital marketing. Based in Paris, Pascal Nègre, one of the most prominent figures in the French music business, will lead the company along with an experienced team of specialists across marketing, design, digital and branding. Pascal Nègre, CEO of #NP said: "#NP's mission is to ensure the artist is at the very core of the game in this new digital age. Our specialist team will be with the artist every step of the way with the advice and services they need to allow them to do what they do best. I'm delighted to join forces with Live Nation France, a family of great professionals with worldwide expertise." Angelo Gopée, Live Nation France Chief Executive, said: "It is a pleasure to welcome Pascal in a joint venture that is both exciting and ambitious. His vision is in perfect harmony with what we've been doing at Live Nation for the past seven years." John Reid, President, Live Nation Europe - Concerts, said: "The artist is at the core of what we do, and together with Pascal we will be able to expand this focus in ways we've always wanted to. The experience Pascal brings to the table is unsurpassed, and we welcome him with open arms." About Live Nation Entertainment: Live Nation Entertainment (NYSE: LYV) is the world's leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, Live Nation Media & Sponsorship and Artist Nation Management. For additional information, visit www.livenationentertainment.com. After starting in the music business as a radio DJ (which he is once again now on RFM), Pascal Nègre, 55 years old, spent his whole career in the music industry. First as a promotion officer for BMG, then as head of promotion at Sony Music, Pascal then ran various labels (Barclay, Island, Mercury) before becoming president of Polygram France in 1994. He also presides the SCPP for more than twenty years. On top of his mandate as French president of UMG, Pascal Nègre also was appointed vice-president in charge of the middle east (2000-2016), of Italy (2005-2015), but also president of the Mediterranean region and of Latin America (2005-2016). He joined the UMG board in 2013 as head of the New Business department, developing Universal Music & Brands on a worldwide base. He became known by the French people as a jury member of the Star Academy, the top rating talent show on TF1 TV channel. Pascal Nègre wrote a book, Sans Contrefaçon, in 2010. He also is Knight of the Order of the Legion of Honor and Officer of the Order of Arts and Letters.
News Article | September 17, 2016
It looks as if Lady Gaga's upcoming fifth studio album Joanne won't be an exclusive release on Apple Music, Tidal or any other streaming service. The singer has publicly stated that she would leak her new music if her record label were to enter a deal with a streamer, limiting its initial exposure to a single streaming platform. The singer expressed her disdain for such agreements in comments she made in an interview with DJ Zane Lowe on his Beats 1 Radio show, pulling no punches despite the fact that the show is carried exclusively on Apple's Apple Music streaming service. "I told my label that if they signed those contracts with Apple Music and Tidal, I'd leak all my own new music," she explained, as Gaga wants to ensure that all of her fans, known as her little monsters, are afforded equal opportunity to access her new tunes. Lady Gaga's stance comes as the bitter debate regarding exclusive streaming deals for new music rages on. While Apple's Tim Cook has defiantly pledged to continue pursuing Apple Music exclusives with artists despite pressure from music fans. Spotify has publicly come out against the practice, as its executives have stated that they will not pursue such agreements. Lucien Grainge, chairmen of UMG (Universal Music Group), has also publicly stated recently that he will not continue to pursue streaming exclusives for artists on his labels. The controversy over exclusives widened this week when it was reported that Spotify apparently buried the addition of Frank Ocean's popular and highly anticipated new album release Blonde to its streaming service following the collection's extended run as an Apple Music exclusive, after Spotify had apparently afforded similar treatment to another recent Apple Music exclusive, Katy Perry's "Rise" single, this summer. Meanwhile, the first week download numbers for "Perfect Illusion," Lady Gaga's first single from the Joanne collection, due to be released on Oct. 21, were solid if not spectacular, with an estimated 100,000 units sold. That's only about half the first week tally for "Applause," which previewed Gaga's last album Artpop, but in the three years since, the advent of streaming has made direct digital sales comparisons difficult to assess. "Perfect Illusion" isn't exactly tearing up the streaming charts, however, where it currently remains in the 30s on both Spotify's global and U.S. charts despite massive promotion on the streamer. The song, however, is soon expected to debut in the top 20 of Billboard's Hot 100 chart, which measures a combination of sales, streams and radio airplay. © 2017 Tech Times, All rights reserved. Do not reproduce without permission.
News Article | November 10, 2016
SANTA MONICA, Calif., Nov. 10, 2016 /PRNewswire/ -- Universal Music Group (UMG), the world leader in music-based entertainment, today announced a joint venture with Todd Moscowitz, the music industry entrepreneur who has worked with hip-hop artists including Common, Young Thug, Fetty Wap...
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.