Transmit Entertainment Limited 傳遞娛樂有限公司 (Incorporated in the Cayman Islands with Limited Liability) (Stock Code: 1326)

Total Page:16

File Type:pdf, Size:1020Kb

Transmit Entertainment Limited 傳遞娛樂有限公司 (Incorporated in the Cayman Islands with Limited Liability) (Stock Code: 1326) Hong Kong Exchanges and Clearing Limited and The Stock Exchange of Hong Kong Limited take no responsibility for the contents of this announcement, make no representation as to its accuracy or completeness and expressly disclaim any liability whatsoever for any loss howsoever arising from or in reliance upon the whole or any part of the contents of this announcement. Transmit Entertainment Limited 傳遞娛樂有限公司 (Incorporated in the Cayman Islands with limited liability) (Stock code: 1326) FINAL RESULTS ANNOUNCEMENT FOR THE YEAR ENDED 30 JUNE 2020 FINANCIAL HIGHLIGHTS • The Group recorded revenue of approximately HK$465.5 million for the year ended 30 June 2020, representing a decrease of approximately HK$202.6 million or 30.3% when compared to the corresponding period of last year while revenue in Hong Kong recorded a year-on-year decrease of approximately HK$118.2 million or 43.6%. • The Group reported a loss attributable to owners of the Company of approximately HK$126.6 million for the year ended 30 June 2020 as compared to a loss of approximately HK$35.5 million for the corresponding period of last year while the loss of the film exhibition segment in Hong Kong recorded a year-on-year increase of approximately HK$93.9 million or 286.5%. • The Group’s total assets and net assets as at 30 June 2020 were approximately HK$1,784.2 million and HK$205.6 million respectively. • The Group’s proportion of revenue from mainland China increased by 7.3 percentage points year-on-year during the year ended 30 June 2020 from approximately 57.3% of last year to approximately 64.6% of which new business in relation to internet celebrity and fan-driven economy accounted for 4.0% of the total revenue of the Group. • The pan entertainment and other businesses recorded revenue of approximately HK$ 18.5 million during the year ended 30 June 2020, representing an increase of approximately 97.5% from approximately HK$9.4 million as compared to last year. • The profit of the film, TV series and variety show production and distribution segment during the year ended 30 June 2020 increased by approximately 20.6% to approximately HK$61.1 million from approximately HK$50.7 million of last year. – 1 – RESULTS FOR THE YEAR ENDED 30 JUNE 2020 CONSOLIDATED STATEMENT OF PROFIT OR LOSS AND OTHER COMPREHENSIVE INCOME For the year ended 30 June 2020 2020 2019 NOTES HK$’000 HK$’000 Revenue 3 465,534 668,130 Cost of sales (291,830) (405,843) Gross profit 173,704 262,287 Other gains and losses 5 (580) 21,055 Other income 5 42,348 11,347 Selling and distribution expenses (181,793) (207,271) Administrative expenses (60,997) (67,316) Net foreign exchange loss (2,210) (226) Impairment loss on property, plant and equipment 10 (2,189) – Impairment loss on interests in associates 14 – (16,317) Impairment loss on trade receivables under expected credit loss model 16 (2,998) – Impairment loss on right-of-use assets 11 (28,895) – Fair value change on contingent consideration payable (6,161) (20,511) Finance costs 6 (57,630) (11,630) Share of results of associates 14 (855) (1,484) Share of results of a joint venture (6) 97 Loss before tax (128,262) (29,969) Income tax credit (expense) 7 885 (5,719) Loss for the year 8 (127,377) (35,688) – 2 – 2020 2019 NOTE HK$’000 HK$’000 Other comprehensive (expense) income for the year Items that may be reclassified subsequently to profit or loss Reclassification adjustments upon disposal of a subsidiary included in profit or loss – 165 Reclassification adjustments upon disposal of an associate included in profit or loss (321) – Share of exchange difference of a joint venture arising on translating foreign operation – (133) Share of exchange difference of an associate arising on translating foreign operation – 305 Exchange difference arising on translating foreign operation (1,144) 5,266 (1,465) 5,603 Total comprehensive expenses for the year (128,842) (30,085) Loss for the year attributable to: – Owners of the Company (126,598) (35,504) – Non-controlling interests (779) (184) (127,377) (35,688) Total comprehensive expenses for the year attributable to: – Owners of the Company (128,063) (29,901) – Non-controlling interests (779) (184) (128,842) (30,085) Loss per share 9 Basic (HK cents) (4.88) (1.37) – 3 – CONSOLIDATED STATEMENT OF FINANCIAL POSITION At 30 June 2020 2020 2019 NOTES HK$’000 HK$’000 Non-current assets Property, plant and equipment 10 74,689 88,281 Right-of-use assets 11 668,311 – Goodwill 12 448,173 411,876 Intangible assets 13 102,416 5,600 Interests in associates 14 – 8,418 Interest in a joint venture 163 169 Rental deposits 14,878 30,358 Deferred tax assets 297 161 1,308,927 544,863 Current assets Film and television rights 15 – 4,787 Film and television series production in progress 15 163,736 134,203 Inventories 1,249 685 Trade and other receivables 16 126,281 162,719 Contract assets 16,599 – Rental deposits 13,389 19,163 Tax recoverable – 713 Financial assets at fair value through profit or loss 7,040 – Restricted bank balances 13,098 – Pledged bank deposits 21,667 664 Bank balances and cash 112,263 122,035 475,322 444,969 – 4 – 2020 2019 NOTES HK$’000 HK$’000 Current liabilities Trade and other payables 17 215,806 219,555 Contract liabilities 60,695 46,562 Tax payable 5,713 5,585 Bank and other borrowings 18 22,000 65,220 Loans from related companies 19 30,303 64,274 Amount due to a controlling shareholder 27,500 – Bonds payable 22,000 – Amount due to a joint venture 385 385 Contingent consideration payable 145,262 139,235 Lease liabilities 20 71,962 – 601,626 540,816 Net current liabilities (126,304) (95,847) Total assets less current liabilities 1,182,623 449,016 Non-current liabilities Deposits received 17 383 950 Bonds payable 29,500 22,000 Bank and other borrowings 18 45,000 – Loan from a related company 19 89,721 161,695 Contingent consideration payable 103,693 178,155 Deferred tax liabilities 23,231 – Lease liabilities 20 685,490 – 977,018 362,800 Net assets 205,605 86,216 Capital and reserves Share capital 21 6,489 6,489 Reserves (44,373) 83,690 (Deficit in shareholder’s equity) equity attributable to owners of the Company (37,884) 90,179 Perpetual bonds 24 204,600 – Non-controlling interests 38,889 (3,963) Total equity 205,605 86,216 – 5 – CONSOLIDATED STATEMENT OF CHANGES IN EQUITY For the year ended 30 June 2020 Attributable to owners of the Company Non- Share Share Other Exchange Accumulated Perpetual controlling capital premium reserve reserve losses Sub-total bonds interests Total HK$’000 HK$’000 HK$’000 HK$’000 HK$’000 HK$’000 HK$’000 HK$’000 HK$’000 (Note i) (Note ii) At 1 July 2018 6,489 521,046 10 (3,607) (403,858) 120,080 – (3,779) 116,301 Loss for the year – – – – (35,504) (35,504) – (184) (35,688) Reclassification adjustments upon disposal of a subsidiary included in profit or loss – – – 165 – 165 – – 165 Share of exchange difference of a joint venture arising on translating foreign operation – – – (133) – (133) – – (133) Share of exchange difference of an associate arising on translating foreign operation – – – 305 – 305 – – 305 Exchange difference arising on translating foreign operation – – – 5,266 – 5,266 – – 5,266 Total comprehensive income (expense) for the year – – – 5,603 (35,504) (29,901) – (184) (30,085) At 30 June 2019 6,489 521,046 10 1,996 (439,362) 90,179 – (3,963) 86,216 Loss for the year – – – – (126,598) (126,598) – (779) (127,377) Reclassification adjustments upon disposal of an associate included in profit or loss (note 14) – – – (321) – (321) – – (321) Exchange difference arising on translating foreign operation – – – (1,144) – (1,144) – – (1,144) Total comprehensive expense for the year – – – (1,465) (126,598) (128,063) – (779) (128,842) Capital contribution from non-controlling interest of a subsidiary – – – – – – – 5,390 5,390 Acquisition of a subsidiary (note 22) – – – – – – – 34,278 34,278 Disposal of subsidiaries – – – – – – – 3,963 3,963 Issuance of perpetual capital securities by subsidiaries (note 24) – – – – – – 204,600 – 204,600 At 30 June 2020 6,489 521,046 10 531 (565,960) (37,884) 204,600 38,889 205,605 – 6 – Notes: (i) Other reserve represents the difference between the aggregate nominal value of the respective share capital of the companies now comprising the subsidiaries of the Company over the nominal value of the shares of the Company issued pursuant to the group reorganisation completed on 5 October 2012 (the “Reorganisation”) to rationalise the structure of the Group in preparation for the listing of the Company’s shares on GEM of The Stock Exchange of Hong Kong Limited (the “Stock Exchange”). (ii) On 29 June 2020, two wholly-owned subsidiaries of the Company issued perpetual bonds (the “issuers”) amounted to RMB31,000,000 (equivalent to HK$34,100,000) and RMB155,000,000 (equivalent to HK$170,500,000), respectively to Guangzhou Puji Real Estate Agency Co. Limited, a related company in which Mr. Zhang Liang, Johnson, the Chairman and an executive director of the Company, has controlling interest, and the perpetual bonds are redeemable at the issuer’ option on or after 28 June 2025. Interests are payable annually in arrears at a fixed rate of 4.5% per annum, which may be deferred at the issuers’ discretion and in which event, the Company and the issuers will not declare or pay any interests or redeem, reduce, cancel or buy back or otherwise acquire any of the Company’s and/or the issuer’s securities of lower or equal rank.
Recommended publications
  • Bab I Pendahuluan
    BAB I PENDAHULUAN 1.1 Gambaran Umum Subjek Penelitian 1.1.1 Series Produce 101 Produce 101 adalah acara survival dari Korea Selatan yang ditayangkan pada stasiun TV Mnet merupakan proyek berskala besar di mana masyarakat "menghasilkan" sebuah grup dengan cara memilih anggotanya dari 101 peserta yang merupakan trainee dari puluhan perusahaan hiburan Korea Selatan dan para trainee tersebut tidak hanya berasal dari Korea Selatan tetapi juga dari Jepang, China, Taiwan, hingga Thailand. Gambar 1.1 Poster Series Produce 101 Sumber: Allkpop.com diakses pada 04/09/2019 pukul 20.20 WIB Trainee yang berkompetisi untuk debut dalam satu grup ini akan melewati beberapa tahapan seleksi dan disetiap tahapan seleksi tersebut akan ada beberapa peserta yang tereleminasi. Nantinya penampilan para peserta disetiap tahapan seleksi akan disaksikan oleh produser nasional (penonton) yang akan menentukan trainee terbaik pilihan mereka dengan memberikan vote, baik secara langsung saat 1 penampilan evaluasi ataupun melalui sms atau online setelah episode ditayangkan di TV, hal ini juga membantu terbentuknya basis penggemar yang kuat sebelum mereka resmi debut. Grup jebolan Produce 101 dijuluki “National Group” karena hanya warga Korea Selatan saja yang bisa mengikuti voting untuk para peserta di acara ini, dan warga Korea Selatan yang memberikan voting disebut “National Producer”. Berikut adalah tahapan seleksi yang akan dijalani oleh para trainee Series Produce 101: 1. Individual Test Level Pada test ini, para trainee akan tampil per-agensi, kemudian para pelatih dan MC akan berdiskusi dan membagi para trainee menjadi beberapa kelas sesuai kemampuan mereka saat tampil. 2. Group Battle Para trainee akan dibagi menjadi beberapa grup dengan anggota 5-7 orang, kemudian mereka akan menampilkan lagu dari grup-grup K-Pop terkenal, nantinya tiap 2 grup akan menampilkan lagu yang sama (battle) dan ada voting on-scene oleh penonton yang hadir untuk menentukan grup mana yang lebih baik saat menampilkan lagu tersebut.
    [Show full text]
  • Program Studi Ilmu Komunikasi Fakultas Ilmu Sosial Dan Ilmu Politik Universitas Sumatera Utara
    KONSTRUKSI CITRA GRUP IDOLA JEPANG AKB48 DALAM PROGRAM ACARA TELEVISI PRODUCE 48 (Analisis Framing Robert Entman Mengenai Citra Grup Idola Jepang AKB48 pada Program Acara Televisi Korea Selatan Produce 48 oleh MNET) SKRIPSI ALDO ARINATA NAINGGOLAN 150904068 Public Relations PROGRAM STUDI ILMU KOMUNIKASI FAKULTAS ILMU SOSIAL DAN ILMU POLITIK UNIVERSITAS SUMATERA UTARA MEDAN 2019 Universitas Sumatera Utara KONSTRUKSI CITRA GRUP IDOLA JEPANG AKB48 DALAM PROGRAM ACARA TELEVISI PRODUCE 48 (Analisis Framing Robert Entman Mengenai Citra Grup Idola Jepang AKB48 pada Program Acara Televisi Korea Selatan Produce 48 oleh MNET) SKRIPSI Diajukan sebagai salah satu syarat untuk memperoleh gelar sarjana Program Strata-1 pada Program Studi Ilmu Komunikasi Fakultas Ilmu Sosial dan Ilmu Politik Universitas Sumatera Utara ALDO ARINATA NAINGGOLAN 150904068 Public Relations PROGRAM STUDI ILMU KOMUNIKASI FAKULTAS ILMU SOSIAL DAN ILMU POLITIK UNIVERSITAS SUMATERA UTARA MEDAN 2019 i Universitas Sumatera Utara LEMBAR PERSETUJUAN Skripsi ini ditujukan untuk dipertahankan oleh: Nama : Aldo Arinata Nainggolan NIM : 150904068 Judul Skripsi : “Konstruksi Citra Grup Idola Jepang AKB48 dalam Program Acara Televisi Produce 48 (Analisis Framing Robert Entman Mengenai Citra Grup Idola Jepang AKB48 pada Program Acara Televisi Korea Selatan Produce 48 oleh Mnet)” Dosen Pembimbing Ketua Departemen Munzaiman Masril S.Sos., M.I.Kom Dra. Dewi Kurniawati, M.Si., Ph.D NIP. 198011072006042002 NIP. 196505241989032001 Dekan FISIP USU Dr. Muryanto Amin S.Sos, M.Si NIP. 19740930 2005011002
    [Show full text]
  • Comparative Response of the Hepatic Transcriptomes of Domesticated and Wild Turkey to Aflatoxin B1
    toxins Article Comparative Response of the Hepatic Transcriptomes of Domesticated and Wild Turkey to Aflatoxin B1 Kent M. Reed 1,* ID , Kristelle M. Mendoza 1, Juan E. Abrahante 2 and Roger A. Coulombe 3 1 Department of Veterinary and Biomedical Sciences, College of Veterinary Medicine, University of Minnesota, Saint Paul, MN 55108, USA; [email protected] 2 University of Minnesota Informatics Institute, University of Minnesota, Minneapolis, MN 55455, USA; [email protected] 3 Department of Animal, Dairy and Veterinary Sciences, College of Agriculture, Utah State University, Logan, UT 84322, USA; [email protected] * Correspondence: [email protected]; Tel.: +1-612-624-1287; Fax: +1-612-625-0204 Received: 29 November 2017; Accepted: 10 January 2018; Published: 13 January 2018 Abstract: The food-borne mycotoxin aflatoxin B1 (AFB1) poses a significant risk to poultry, which are highly susceptible to its hepatotoxic effects. Domesticated turkeys (Meleagris gallopavo) are especially sensitive, whereas wild turkeys (M. g. silvestris) are more resistant. AFB1 toxicity entails bioactivation by hepatic cytochrome P450s to the electrophilic exo-AFB1-8,9-epoxide (AFBO). Domesticated turkeys lack functional hepatic GST-mediated detoxification of AFBO, and this is largely responsible for the differences in resistance between turkey types. This study was designed to characterize transcriptional changes induced in turkey livers by AFB1, and to contrast the response of domesticated (susceptible) and wild (more resistant) birds. Gene expression responses to AFB1 were examined using RNA-sequencing. Statistically significant differences in gene expression were observed among treatment groups and between turkey types. Expression analysis identified 4621 genes with significant differential expression (DE) in AFB1-treated birds compared to controls.
    [Show full text]
  • The African Roots of Cuban Music,The Music of the Nyayo Era,Kenyans' Elusive Search for a Cultural Identity,How Afrobeat(S)
    The African Roots of Cuban Music By Boima Tucker British sociologist Paul Gilroy suggested the history of culture in the Atlantic world is characterized by constant exchange. One of the most traceable elements of that exchange, is the musical connections between communities of African descent on either side of the ocean. These musical practices operate as sites of resistance, cultural retention, and social cohesion that allow us to understand some of the ways we all are formed by trans-continental processes. During the dawn of recorded music in the early part of the 20th century, Cuba—one of many New World sites of African and indigenous resistance to European colonisation and enslavement—would become a hotbed for musical export in the emerging industrialized system of music distribution. Folk musical traditions from across the island would come together in Havana’s studios, and then get dispersed around the entire Atlantic world. In the early part of the 20th Century, Cuban musical styles like son, mambo and guaguanco followed migrants and sailors out across the Atlantic, hitting radio waves in the ports of landing, and spreading throughout the interior of the countries they landed in. With its strong traces of West and Central African rhythms, this music would find legions of devoted followers on the African continent. Local artists would try their hand at recreating the sound, and start to mix elements of their own local traditions creating what we now know as Congolese rumba, soukous, mbalax, semba, kizomba, and highlife, etc. These styles, amongst many others on the continent, would go on to form the backbone of national identity in the post-independence period, their propagation supported with enthusiasm by the leaders of the new nations.
    [Show full text]
  • Hallyu at a Crossroads: the Clash of Korea's Soft Power Success and China's Hard Power Threat in Light of Terminal High
    Asian International Studies Review Vol. 18 No.1 (June 2017): 153-169 153 Received March 15, 2017 Revised May 10, 2017 Accepted May 20, 2017 Hallyu at a Crossroads: The Clash of Korea’s Soft Power Success and China’s Hard Power Threat in Light of Terminal High Altitude Area Defense (THAAD) System Deployment HANNAH JUN* The past two decades have witnessed the remarkable success of Hallyu, or the Korean Wave, with Korea welcoming a large influx of foreign visitors and benefiting from massive consumption of products ranging from Korean television and film, K-pop and lifestyle products. A more recent announcement by CJ E&M points to an even more aggressive plan for regional ubiquity, as encapsulated by Hallyu 4.0. Simultaneously, we have already felt some of the effect of policy changes in China – a core Hallyu market – as a response to Korea’s plan to deploy a Terminal High Altitude Area Defense (THAAD) system. In this sense, we see the stirrings of a clash between Korean soft power and Chinese hard power, and are uncertain who will emerge on top. This paper examines the broad success of Hallyu from key theoretical perspectives, while addressing linkages between Korean corporations and cultural power/influence that have led to an announcement such as Hallyu 4.0. This paper also highlights the recent tensions between Korea and China, specifically with respect to THAAD deployment, and outlines potential implications for businesses and policymakers through preliminary scenarios. Keywords: Nuclear Taboo, Nuclear Arms, Deterrence, Norms, Proliferation, Just War * Assistant Professor, Ewha Womans University, Seoul, South Korea; E-mail: [email protected]; DOI: 10.16934/isr.18.1.201706.153 Downloaded from Brill.com09/28/2021 03:33:20PM via free access 154 Hallyu at a Crossroads I.
    [Show full text]
  • Jang Wonyoung IZONE: Age, Ethnicity, Net Worth, Wiki
    Jang Wonyoung IZONE: Age, Ethnicity, Net Worth, Wiki Jang Wonyoung was born on 31stAugust 2004 in Ichon-dong, Seoul, South Korea. She holds the nationality of South Korea. She is a dancer and a singer, and most famous as amember of IZONE,a girl group. Educational background Jang was raised alongside her three-year older sister in Taiwan by their father who is initially from South Korea but who experienced childhood in Taiwan, and who is today filling in as a music teacher, and their mother who is half South Korean, half Chinese. Roused by her father, Jang started taking singing lessons at an early age and learned at a nearby grade school while at the same time going to a school of the performing expressions. Career The unscripted television show "Produce 48" started circulating on Mnet, as a collaboration between the AKB48 Group and the TV ability establishment Produce 101. It was dispatched to discover 12 girls who might frame a group, after the show finished on 31 August. The individuals on the internet known as netizens (internet and resident) chose IZONE for the name of the group – 'IZ' means '12' and 'ONE' is for them as one group. 96 girls contended in the show. The group acted in Japan at Tokyo Dome City Hall on 20 January 2019 and sang their first song in the Japanese language called "Suki to Iwasetai", arriving at #2 on the Billboard Japan Hot 100, as well as on the Oricon Singles Chart. IZONE's collection was ultimately released on 17 February 2020, named "Bloom*Iz", breaking the record for the quantity of sold duplicates in its first week with more than 355,000.
    [Show full text]
  • Paw Print Jr. June 2019
    Maple Hill Jr. PawPrint Issue 4 June 2019 Summer Poetry If you have ever been on a road trip or you are looking forward to one this summer, you will be able to relate to this poem! Maybe you will write a road trip poem this summer! Road Trip By Oriana Letzelter, grade 7 In New York, you pack up and leave fast, In New Jersey, you*beep**beep**beep*and* honk honk honk*! ​ ​ ​ In Delaware, you leave with lots and lots of speed, In Maryland, you wait wait wait for traffic to go, In Washington D.C. you go around it so you aren't stressed, In Virginia, you have lots of fun and finally, get some rest. In a week, you have to repeat in reverse! My NBA Mock Draft By: Brady Cole, grade 7 There is an NBA draft every year that introduces teenagers and some young adults get drafted to their dream job, playing basketball for millions of dollars a year. There is a draft lottery, so these teams know exactly which pick they get. Then, a week after, the players that declared to be drafted, there is an NBA combine. The NBA combine is where players measure height, weight, body fat, that stuff. Then they do drills and they go through those and then they have a 5 on 5 scrimmage. The teams get the players’ info, and can decide to schedule workouts with them. In the upcoming weeks, these guys can decide whether to go back to college, or go into the draft. There is a 3 week span where NBA teams can trade their picks, and then the draft begins.
    [Show full text]
  • Diversity of K-Pop: a Focus on Race, Language, and Musical Genre
    DIVERSITY OF K-POP: A FOCUS ON RACE, LANGUAGE, AND MUSICAL GENRE Wonseok Lee A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2018 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2018 Wonseok Lee All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Since the end of the 1990s, Korean popular culture, known as Hallyu, has spread to the world. As the most significant part of Hallyu, Korean popular music, K-pop, captivates global audiences. From a typical K-pop artist, Psy, to a recent sensation of global popular music, BTS, K-pop enthusiasts all around the world prove that K-pop is an ongoing global cultural flow. Despite the fact that the term K-pop explicitly indicates a certain ethnicity and language, as K- pop expanded and became influential to the world, it developed distinct features that did not exist in it before. This thesis examines these distinct features of K-pop focusing on race, language, and musical genre: it reveals how K-pop groups today consist of non-Korean musicians, what makes K-pop groups consisting of all Korean musicians sing in non-Korean languages, what kind of diverse musical genres exists in the K-pop field with two case studies, and what these features mean in terms of the discourse of K-pop today. By looking at the diversity of K-pop, I emphasize that K-pop is not merely a dance- oriented musical genre sung by Koreans in the Korean language.
    [Show full text]
  • Psy Is Still Leading K-Pop Industry Try It Conquer The
    4th May 2016 Vol. 1 SKorean EXO to make a come- back this summer FIRE PRETTY U Dream girls are waiting for you! Watch a new paradigm of audition pro- grams, PRODUCE 101 BTS on “FIRE” PSY IS STILL LEADING K-POP INDUSTRY TRY IT CONQUER THE WORLD! Dream girls are waiting for you! Watch a new paradigm of BTS ON “FIRE” audition programs, 3 PRODUCE 101 6 PSY IS STILL LEADING K-POP INDUSTRY TRY EXO to make a come- TO CONQUER THE back this summer 5 WORLD!ith PSY’s 7 CONTENTS Dream girls are waiting for you! Watch a new paradigm of audi- tion programs, PRODUCE 101 hoose your dream member of new idol group! Only 11 members will debut by the Cchoice of viewers. This is a brand new, simple and fair competition call-in program! Be a producer! ew idol Audition program, “produce 101” becomes hot potatoes in Korea. Unlike oth- Ner famous audition programs, It has a strict competitive system that only 11 girls can debut among 101 candidates. Also, from the start to the end of the show, viewers have the power to choose their favorite members. It means that only fans can decide who is going to be the part of new idol team. The show is famous for making good people to be stars and focused on the need for the girls to have humility, good atti- tude, and passion. he final line up of the group includes SeJeong, ChungHa, NaYoung, YeonJung, ZhouJiepiong, ChaeYeon, DoYeon, YooJung, SoHye, MiNa Tand SoMi. Produce 101 fans voted SoMi in first place, followed by Se- Jeong and YooJung.
    [Show full text]
  • OHBM 2021 Abstract Book
    Abstract Book of the 27th annual meeting of the Organization for Human Brain Mapping Including links to abstracts, poster PDFs, standby times, and poster locations, as well as Author and Category indexes, and Poster Highlights 9 June 2021 — v2.0 [email protected] OHBM 2021 Abstracts 1042 Cortical Thickness, Surface Area and Volume in the Reading 1069 Heterogeneous age dependency in the human superior Network of Children with Dyslexia longitudinal fasciculus Rita Barakat1, Jason Zevin1, Kristi Clark1 Kaoru Amemiya1,2, Eiichi Naito1,2, Hiromasa Takemura1,2 1University of Southern California, Los Angeles, CA 1Center for Information and Neural Networks (CiNet), NICT, Suita-shi, Japan, Abstract | Poster PDF | Standby Times | Visit poster 2Graduate School of Frontier Biosciences, Osaka University, Suita-shi, Japan Abstract | Poster PDF | Standby Times | Visit poster 1050 The Effect of Scan Length on Reliability of Resting-State fMRI in Awake and under Anesthesia 1087 Enhanced activity in DMN (Precuneus) on Resting state fMRI, Faezeh Vedaei1, Mahdi Alizadeh1, Sara Thalheimer1, Victor Romo1, Feroze with Spiritual Practice Mohamed1, Chengyuan Wu1 Dr Santosh GUPTA1, Dr Rose Dawn2 1Thomas Jefferson University, Philadelphia, PA 1P.D. Hinduja Hospital & Medical Research Center, Mumbai, Maharashtra, Abstract | Poster PDF | Standby Times | Visit poster 2NIMHANS, Bangalore, Karnataka Abstract | Poster PDF | Standby Times | Visit poster 1051 Divergence of cortical asymmetry and atrophy in temporal lobe epilepsy: A worldwide ENIGMA study 1088
    [Show full text]
  • © Copyright 2020 Young Dae
    © Copyright 2020 Young Dae Kim The Pursuit of Modernity: The Evolution of Korean Popular Music in the Age of Globalization Young Dae Kim A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2020 Reading Committee: Shannon Dudley, Chair Clark Sorensen Christina Sunardi Program Authorized to Offer Degree: Music University of Washington Abstract The Pursuit of Modernity: The Evolution of Korean Popular Music in the Age of Globalization Young Dae Kim Chair of the Supervisory Committee: Shannon Dudley School of Music This dissertation examines the various meanings of modernity in the history of Korean pop music, focusing on several crucial turning points in the development of K-pop. Since the late 1980s, Korean pop music has aspired to be a more advanced industry and establish an international presence, based on the economic leap and democratization as a springboard. Contemporary K-pop, originating from the underground dance scene in the 1980s, succeeded in transforming Korean pop music into a modern and youth-oriented genre with a new style dubbed "rap/dance music." The rise of dance music changed the landscape of Korean popular music and became the cornerstone of the K-pop idol music. In the era of globalization, K-pop’s unique aesthetics and strategy, later termed “Cultural Technology,” achieved substantial returns in the international market. Throughout this evolution, Korean Americans were vital players who brought K-pop closer to its mission of modern and international pop music. In the age of globalization, K-pop's modernity and identity are evolving in a new way.
    [Show full text]
  • Picking Personalities
    Others|T01 Haimen Zhongnan Dongzhou International High School Picking Personalities: An investigation into Idol-development programs Fan Chengcheng’s fans were showing their light boards for Fan Chengcheng (“Mgic Baby Fan Chengcheng”) on 18th June in the northern gate of datong dynasty, Da Tong, Shanxi. They supported Fan Chengcheng since Fan would attend to the opening ceromony of filfest in Datong. (Shoot by Meng Jia on 18th June) Inspired by the texts that our friends re-posted on social networking websites in June TEAM01 Ariel Gu, Carol Zhang, Betty Shi, Cynthia Cao, Amber Zhang, Anne Song Haimen Zhongnan Dongzhou International High School PICKING PERSONALITIES 1 Others|T01 Haimen Zhongnan Dongzhou International High School Can you win a singing contest when you cannot sing? Can you gain popularity if you make mistakes on stage? Our report says, “Yes!” Idol-development programs like “Produce101” have been on fire in China in recent months. So, what personalities do teenagers want to see on these contestants? What personalities do they pick? A survey of 82 students aged 13 to 18 and attending high school in Haimen that we did in June found that students believe they are learning life values by watching idol programs, including such qualities as strength and diligence.These qualities are the right way for people to survive in this society; luck and good appearance do have their own power, but without real strength and diligence, few people can achieve long-term success. Let’s see the stories. Vote for beauty? Yang Chaoyue is a contestant in “101”, which is an idol survival show in China like “American Idol”.
    [Show full text]