This Report Has Been Prepared by the Armed Forces Covenant Fund Trust for HM Treasury and Is a Review of All Libor Fund Grants Made Between 2012 – 2017

Total Page:16

File Type:pdf, Size:1020Kb

This Report Has Been Prepared by the Armed Forces Covenant Fund Trust for HM Treasury and Is a Review of All Libor Fund Grants Made Between 2012 – 2017 This report has been prepared by the Armed Forces Covenant Fund Trust for HM Treasury and is a review of all Libor Fund Grants made between 2012 – 2017 LIBOR Grants Review This report has been compiled for HM Treasury by the Armed Forces Covenant Fund Trust, which manages the administration and governance of LIBOR grants on behalf of HM Treasury. It provides an update on grants awarded under the LIBOR grants schemes. The government’s LIBOR Scheme totalled £973 million from banking fines received from the Financial Conduct Authority between 2012 and 2015. In 2012, HM Treasury announced that LIBOR fines would be used to support the Armed Forces through the introduction of the £35 million, Armed Forces Covenant Grant Scheme. As the value of income received from fines increased, the government made more announcements relating to additional schemes to which LIBOR funding would be committed. The initial pledge that the money would support Armed Forces charities and good causes was later expanded in October 2014 to include “Armed Forces and Emergency Services charities and other related good causes that represent those who demonstrate the very best of values”. 1005 grants and sub-sets of grants, across five funding schemes have been listed in this report. All have been reviewed and have been either closed or placed into active grant management. The LIBOR Grants Schemes LIBOR Funds awarded by the Chancellor of the Exchequer (the HMT LIBOR Fund) £35M Armed Forces Covenant Grant Scheme £40M Veterans Accommodation Fund £10M per annum Covenant Fund £30M Aged Veterans Fund In April 2015 the Prime Minister announced that £200 million of the fines were to be dedicated to funding 50,000 new apprenticeships for 22–24 year olds over three years. This activity does not form part of this review. Background to the LIBOR Grant Schemes In September 2017 the National Audit Office published a report into the Management of the LIBOR Fund1. This report explained how the government has distributed the money. Funding for the grants came from LIBOR fines. The Financial Conduct Authority (FCA) fined eight banks a total of £688 million for LIBOR offences between 2012 and 2015. The FCA transferred the whole amount to HM Treasury in accordance with legislation. In June 2015, the Chancellor added a £284million Forex fine to the LIBOR Fund. Up to September 2017 1 https://www.nao.org.uk/report/investigation-into-the-management-of-the-LIBOR-fund/ the government had committed £933 million of the £973 million. In November 2017 at the Autumn Statement a further £36 million was committed to 96 organisations2. The majority of this funding has been to support Armed Forces and Emergency Services charities and other related good causes. HM Treasury and the Ministry of Defence (MoD) have distributed £592 million of the LIBOR funding since 2012 to a range of different causes that they judge to demonstrate “the very best of values” and meet with the government’s pledge for the use of the funds. Of the £933 million committed to the Fund, £141 million has yet to be distributed but will support the Covenant Fund. The Covenant Fund is a scheme that will make grants up to £10 million per year in perpetuity and is funded initially from LIBOR fines. The Covenant Fund is now administered by the Armed Forces Covenant Fund Trust. Staff at the Trust also manage the: Aged Veterans Fund; Veterans Accommodation Fund, the £35 LIBOR million programme; and the grant management of HMT LIBOR grants distributed by the MOD. Not all grants from the LIBOR Fund had terms and conditions attached to them as standard until the Autumn Statement 2015. Grant holders contacted as part of the review were asked to sign a declaration regarding their grant expenditure. The NAO review (September 2017) highlighted that HM Treasury and the MoD could not, at that stage, confirm that the charities had spent all grants as intended. However, HM Treasury had already commissioned MoD in January 2017 to carry out a retrospective review of all grants awarded since 2012, in order to provide assurance as to how the grants were spent and provide information for future monitoring. Government Departments held differing levels of information on grants depending on when they were paid and from which scheme. The MoD, through the Covenant Fund is now using a grant from the LIBOR Fund for a project to help understand the needs of the Armed Forces community. This will inform the distribution of the £141 million of LIBOR funding still to be spent from the Covenant Fund grant scheme. MoD is also using a grant from the Covenant Fund to pay for the creation of a measurement framework in order to be able to assess impact on an ongoing basis. HM Treasury has committed previously to conducting an external (independent) evaluation into the impact of LIBOR funding, once it had completed this retrospective review. Planned originally for 2018, it is now assessed that it is too early to make a judgement on the impact of LIBOR funding as a whole, as a significant number of grants remain ‘live’; some grants are profiled to continue until Financial Year 2021. This impact evaluation will now report by the end of 2021; a competition to select the evaluating entity will commence in 2019 in order to allow work to commence early on grants which are complete. The Review Process The aims of the review were to examine grants awarded using LIBOR funds and to ensure that they were being used/had been used for their intended purpose. 2 https://www.gov.uk/government/publications/LIBOR-funding-applications/LIBOR-grants-2017 The review ascertained: the status of each grant to confirm whether the project was complete, or if still ongoing, the likely completion date; how much of the grant funds had been spent; and the grant holders plans to spend the remainder of the grant. Officials contacted grant holders and requested the following information: 1. A summary of the project and the difference that it is making to beneficiaries. 2. Financial information/evidence on how the grant has been spent; and the total costs of the project. 3. Information on outstanding grant balances and when the project will be completed. 4. Evidence of activity. 5. Plans to spend the remainder of the grant. As part of the process; grant holders signed a declaration electronically to confirm that: • the information in the report was accurate and true and had been approved by the governing body of the organisation. • the money from the LIBOR Fund has been used exclusively for the Activity described in the original application (if applicable), together with any changes that have been agreed with the Grant Management Team since then. • there haven’t been any significant changes to the Activity or the governance of the organisation, apart from any highlighted to and agreed by the Grant Management Team. • they have informed the Grant Management Team about all other sources of funding for the Activity and they haven’t received any duplicate funding for the activities, services or facilities that the LIBOR Fund is paying for. • they have sought to achieve value for money for the Activity by securing goods and services at reasonable prices. • the organisation keeps full and proper accounts and records, including invoices and receipts, which show how the money from the LIBOR Fund has been used. • the organisation hasn’t disposed of any LIBOR funded assets without receiving prior permission from the Grant Management Team in writing. • the organisation is following all current statutory requirements and other laws and regulations relating to the project and its work including: adherence to employers’ liability insurance; the national minimum wage; the working time directive; health and safety; safeguarding of children and adults at risk; data protection and intellectual property rights legislation. When reviewing a grant, information provided by the grant holder was used; along with other external sources, including the organisation’s published accounts and other publicly available information. The information provided in this review is therefore as accurate as those sources and the cross referencing between them allows. Reviews were conducted by experienced grant making staff. The review is an ongoing piece of work that supports the progression of earlier grants into active grant management, where grants are routinely reviewed as part of an end to end grant management process. All grants have been reviewed and no evidence of misuse of funds has been identified to date. Contact grant holder and obtain monitoring data Review monitoring data and published accounts Close grant if project complete and no further post award monitoring is required Move grant into regular grant management if activity is ongoing; using data from the review to inform future monitoiring activity Close grant when all post award monitoiring is complete Figure 1; the review process and its relationship with active grant management As part of each completed review, the grant was assessed to see if the Activity is ongoing or closed. A closed status refers to a grant that has spent its grant funds on the intended activity and where there is evidence of that Activity. 33 HMT LIBOR grants were closed as part of the review process. A further 71 grants awarded under the £35M Fund were closed or confirmed as previously closed by officials. Most grants are ongoing; the majority of these have a balance of their grant to spend and have provided information on how they will spend this. In some cases, a project may have spent all of their LIBOR grant, but it is appropriate to keep the project in grant management as the Activity may not yet have concluded, with the balance being funded from other sources.
Recommended publications
  • Unforgotten 2 ITV Wylie Interviews
    Unforgo'en,*Series*2* Produc3on*Notes* January*2017* Contents* Press%Release % % % %%%%3% Foreword%by%Chris%Lang%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%5% Character%Biographies % %%%%%%%%%%%%%%%%%%6% Cast%interviews%% % %%%%%%%%%%%%%%%%%%7% Episode%Synopses % % %%25 % % %% Cast%Credits%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%26% ProducBon%Credits%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%28% CRITICALLY*ACCLAIMED*DRAMA*UNFORGOTTEN* RETURNS*TO*ITV* CriBcally%acclaimed%drama,%UnforgoHen,%starring%Nicola%WalKer%(Last%Tango%In%Halifax,%Sco3%&%Bailey)% and%Sanjeev%BhasKar%(Goodness%Gracious%Me,%Indian%Summers),%returns%for%a%second%series,%exploring% the%invesBgaBon%into%another%intricate%historic%murder%case.% % Once%again%created%by%writer%Chris%Lang%(Undeniable,%The%Tunnel),%the%gripping%sixRpart%series% features%a%brand%new%story,%starBng%with%the%discovery%of%body%found%in%a%sealed%suitcase%in%the%silt% of%the%River%Lea.%With%the%body%preserved%but%clearly%having%been%there%a%number%of%years,%DCI% Cassie%Stuart%(WalKer)%and%DI%Sunny%Khan%(BhasKar)%begin%the%complicated%tasK%of%idenBfying%the% vicBm%and%invesBgaBng%his%murder.%%% % Through%their%inquiries,%the%body%is%revealed%as%middleRaged%man%David%WalKer%who%mysteriously% disappeared%in%1990%leaving%behind%a%wife%and%young%son%who%is%now%in%his%early%30s.%However,%with% no%clear%moBves%for%murder,%the%team%are%charged%with%finding%out%who%wanted%David%WalKer%dead% and%why?% % As%the%invesBgaBon%progresses,%we’re%introduced%to%BrightonRbased%barrister%Colin%Osborne%(MarK% Bonnar),%paediatric%nurse%Marion%Kelsey%(Rosie%Cavaliero),%school%teacher%Sara%Mahmoud%(Badria%
    [Show full text]
  • Eleanor Baker Costume Designer
    Eleanor Baker Costume Designer Agents Anna Hird Maternity Cover [email protected] Gemma Bicknell [email protected] Credits Film Production Company Notes PRINCESS SWITCH 3 Netflix Dir: Mike Rohl 2022 Prod: Brian Donovan (with Vanessa Hudgens) 47 METERS DOWN thefyzz Dir: Johannes Roberts 2017 Prod: Mark Lane (with Mandy Moore, Matthew Modine and Claire Holt) DAMASCUS COVER Big Book Media Dir: Daniel Zelik Berk 2017 Prod: Huw Penallt Jones (with Jonathan Rhys Meyers, Olivia Thirlby and John Hurt) TABLOID Little Wing Films Dir: David Blair 2001 Prod: Mark Shorrock (with Matthew Rhys, John Hurt, Art Malik and Mary Elizabeth Mastrantonio) LATE NIGHT Film4 Dir: Saul Metzstein SHOPPING Prod: Angus Lamont 2000 (with James Lance, Sienna Guillory) Berlin Film Festival 2001: Winner of the German International Film Union Prize United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes THE SPICE GIRLS LIVE Showtime Dir: David Barnard 1999 Networks Prod: Mark Hurry Television Production Company Notes ANGELA BLACK Two Brothers Pictures Dir: Craig Viveiros 2021 Prod: Natasha Romaniuk ENDEAVOUR Mammoth/ITV Dir: Shaun Evans, Zam Salim 2020 Prod: Jim Levison THE SPLIT S2 Sister Pictures/ BBC1/AMC Dir: Paula Van der Oest 2019 Sundance Prod: Natasha Romaniuk (with Nicola Walker, Stephen Mangan, Deborah Findlay and Meera Syal) GOLD DIGGER Mainstreet Pictures/BBC Dir: Vanessa Caswell and David Evans 2019 Prod: Ani Kevork and Marnie Dickens (with
    [Show full text]
  • Simply Schools 2020–21
    2020 Learning with Museums & –2021 Galleries across Lancashire www.simplyschools.org.uk Welcome to Welcome to the Simply Schools 2020–21 brochure, we are confident that you will find ideas and inspiration from our Heritage Learning site activities, CPD, loans boxes and outreach, and from those activities delivered by our wider museum partners. Heritage Learning is back for 2020/2021 It gives me the greatest pleasure to with new sessions, projects and announce that the Heritage Learning programmes. Last year the Heritage Team will be delivering the learning Learning Team delivered site sessions, programmes on behalf of the Harris outreach and loans boxes that engaged Museum, Art Gallery and Library in with over 35,000 school children Preston from September 2020. across Lancashire. We have once again David Brookhouse worked with schools on some amazing As part of the national DfE funded Heritage Learning Manager projects including ‘Lancashire Sparks’ Museums and Schools Programme, we an exploration of Lancashire’s intangible are always keen to work with teachers 01772 535075 heritage through clog dancing, music and schools to develop our learning and literacy. The TIME project continues offer. Our themes for this year are STEM, to work successfully with schools Literacy and teacher development. embedding the creative arts into the curriculum. Please contact us if you The funding for Heritage Learning comes would like more information about our from a de-delegated budget which range of new school projects. schools vote to continue each year. This funding allows the team to deliver Once again our teacher CPD, twilight award winning, high quality cultural and INSET programmes have grown from learning across Lancashire.
    [Show full text]
  • English Folk Traditions and Changing Perceptions About Black People in England
    Trish Bater 080207052 ‘Blacking Up’: English Folk Traditions and Changing Perceptions about Black People in England Submitted for the degree of Master of Philosophy by Patricia Bater National Centre for English Cultural Tradition March 2013 This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. Trish Bater 080207052 2 Abstract This thesis investigates the custom of white people blacking their faces and its continuation at a time when society is increasingly aware of accusations of racism. To provide a context, an overview of the long history of black people in England is offered, and issues about black stereotypes, including how ‘blackness’ has been perceived and represented, are considered. The historical use of blackface in England in various situations, including entertainment, social disorder, and tradition, is described in some detail. It is found that nowadays the practice has largely been rejected, but continues in folk activities, notably in some dance styles and in the performance of traditional (folk) drama. Research conducted through participant observation, interview, case study, and examination of web-based resources, drawing on my long familiarity with the folk world, found that participants overwhelmingly believe that blackface is a part of the tradition they are following and is connected to its past use as a disguise. However, although all are aware of the sensitivity of the subject, some performers are fiercely defensive of blackface, while others now question its application and amend their ‘disguise’ in different ways.
    [Show full text]
  • Unforgotten 3
    Unforgotten 3 An outline for a six part serial by Chris Lang Series three of ‘Unforgotten’ will once again explore the fallout from, and the investigation into, an historic murder. It will continue to mine some of the themes of series one and two, but the primary theme of this series, will be the increasingly public nature of serious criminal investigation. So this is a story about public opprobrium and shaming, about trial by twitter, facebook and blog. It is about societal rage and self righteousness, and about why we are now so eager to accuse and scream ‘guilty’, ever less concerned with such inconveniences as evidence and due process. Reflecting events like the murder of Jo Cox, the trial-less but very public excoriation of Greville Janner and Leon Brittan, and the media frenzy surrounding anyone connected to high profile murder cases, ‘Unforgotten 3’ asks uncomfortable questions about the threat to justice that comes with the increasingly transparent system we now demand. On a human level, it will delve deeper into the notion of what sins are forgivable – not so much by others, but by ourselves. We’re all fallible, we’ve all done things of which we may be ashamed, but which of those should we forgive ourselves for, which should we not, and how do we make the distinction? So although the story will once again spin off from the discovery of an historical murder victim, there are some key differences in series three. Firstly, all of our key suspects are close friends. Four men who met as bright young 11 year olds, at a south London grammar in 1968.
    [Show full text]
  • ITV Plc Q1 Trading Update for the 3 Months to 31 March 2021
    ITV plc Q1 Trading Update for the 3 months to 31 March 2021 Carolyn McCall, ITV Chief Executive, said: “We have made a good start to 2021 with total revenue and total viewing both up, despite the continuing impact of the pandemic. We finished the quarter strongly with the substantial majority of our shows back in production and a recovery in the advertising market. “We are encouraged by the UK roadmap out of lockdown and remain cautiously optimistic about the year ahead. Our advertising revenues are rebounding from last year with April up 68% and we expect May to be up around 85% and June up between 85% and 90%, compared to the same period in 2020. This is driven by UK COVID-19 restrictions being reduced and a strong schedule featuring Love Island and the Euros. “However, the advertising market and worldwide productions remain exposed to the risks associated with the pandemic. Accordingly, we continue to closely monitor the situation in all the countries in which we operate. “We remain committed to investing in the acceleration of our strategy to digitally transform ITV which will, in part, be funded by the delivery of our cost saving targets.” Financial performance for the three months to 31 March ● Total external revenue was up 2% at £709m (2020: £694m), despite the COVID-19 restrictions in place throughout the period, unlike the same quarter in 2020 which only had a limited impact ● Total ITV Studios revenue was up 9% at £372m (2020: £342m) ● Media and Entertainment revenue was down 3% at £484m (2020: £500m) impacted by the national lockdown.
    [Show full text]
  • Henry Rider Haggard's Nordicism?
    Henry Rider Haggard’s Nordicism? When Black Vikings fight alongside White Zulus in South Africa Gilles Teulié To cite this version: Gilles Teulié. Henry Rider Haggard’s Nordicism? When Black Vikings fight alongside White Zulus in South Africa. E-rea - Revue électronique d’études sur le monde anglophone, Laboratoire d’Études et de Recherche sur le Monde Anglophone, 2020, 18.1. hal-03225904 HAL Id: hal-03225904 https://hal-amu.archives-ouvertes.fr/hal-03225904 Submitted on 13 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License E-rea Revue électronique d’études sur le monde anglophone 18.1 | 2020 1. Reconstructing early-modern religious lives: the exemplary and the mundane / 2. Another Vision of Empire. Henry Rider Haggard’s Modernity and Legacy Henry Rider Haggard’s Nordicism? When Black Vikings fight alongside White Zulus in South Africa Gilles TEULIÉ Electronic version URL: https://journals.openedition.org/erea/10251 DOI: 10.4000/erea.10251 ISBN: ISSN 1638-1718 ISSN: 1638-1718 Publisher Laboratoire d’Études et de Recherche sur le Monde Anglophone Brought to you by Aix-Marseille Université (AMU) Electronic reference Gilles TEULIÉ, “Henry Rider Haggard’s Nordicism? When Black Vikings fight alongside White Zulus in South Africa”, E-rea [Online], 18.1 | 2020, Online since 15 December 2020, connection on 14 May 2021.
    [Show full text]
  • Saturday 14 and Sunday 15 September 2019 Events from Friday 13 to Sunday 22 September
    The weekend is co-ordinated by Preston History Network and supported by UCLan, Preston CC, Winckley Square CIC and Friends. Thank you to all the sites for their enthusiastic participation. #HODsPreston Saturday 14andSunday 15September 2019 Step through historic doors into some of Step throughhistoric doorsintosomeof Events from Friday13toSunday 22September Preston’s fascinating buildings www.visitpreston.com Use the map to find your way around! Art Direction and Design: madebymason.co.uk @made_by_mason on instagram Discover Dob Croft Lancashire Archives Welcome to Preston Intact, 49 Whitby Avenue, Jeremiah Horrocks Bow Lane, PR1 2RE and 30 fascinating Ingol, PR2 3YP Observatory Moor Park, off Blackpool heritage sites with The Archives are marking the Dob Croft nature reserve is on the /Garstang Roads PR1 1NN Peterloo massacre in 1819 with stories to tell. site of the former brickworks in Ingol, and displays of the personal papers of orator home to the Great Crested Newt. Tours of Visit the observatory in Moor Park, named Henry Hunt, and magistrate William Hulton, Dob Croft, a history talk, and family friendly after the Lancashire astronomer who who ordered the yeomanry intervention. Explore the city centre and activities reveal the natural, industrial and first observed the transit of Venus. It was Take a tour behind the scenes and see more built in 1927 and houses a historic Cooke beyond, and discover places and social heritage of this site. treasures in a strongroom. Listen to creative 8 inch refractor telescope, and displays of responses to Peterloo at 2pm. history you never knew about 2 – 5pm meteorites and astronomical history.
    [Show full text]
  • The Transformation of Elite-Level Association Football in England, 1970 to the Present
    1 The Transformation of Elite-Level Association Football in England, 1970 to the present Mark Sampson PhD Thesis Queen Mary University of London 2 Statement of Originality I, Mark Sampson, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also ackn owledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: M. Sampson Date: 30 June 2016 3 Abstract The purpose of this thesis is to provide the first academic account and analysis of the vast changes that took place in English professional football at the top level from 1970 to the present day. It examines the factors that drove those changes both within football and more broadly in English society during this period. The primary sources utilised for this study include newspapers, reports from government inquiries, football fan magazines, memoirs, and oral histories, inter alia.
    [Show full text]
  • Preston LOCAL Plan 2012-26 Site Allocations & Development Management Policies
    Preston LOCAL Plan 2012-26 Site Allocations & Development Management Policies Adopted 2 July 2015 Contents Preston Local Plan 2012-26 6 Introduction 132 Glossary 16 Vision for Preston 139 Appendix A Local and District Centre Boundaries 22 Delivering Infrastructure 144 Appendix B Parking Standards 32 Areas for Development 147 Appendix C 44 Homes for All Schedule of Superseded Preston Local Plan 2004 Policies 64 Delivering Economic Prosperity 151 Appendix D 84 Catering for Sustainable Travel Preston Local Plan 2004 Policies Not Superceded 92 Protecting and Enhancing the Built and Natural Environment 160 Appendix E Preston Secondary Schools 400m Buffer 118 Promoting Health and Wellbeing 161 Appendix F 126 Tackling Climate Change Monitoring Framework 3 List of Policies Preston Local Plan 2012-26 17 V1 Model Policy 80 EP4 Local Centres 28 IN1 Western Distributor 81 EP5 Riversway Phase B Site Specific Policy 29 IN2 Broughton Bypass 83 EP6 University of Central Lancashire 30 IN3 Park & Ride Sites Cottam Campus (Broughton and Riversway) EP7 Telecommunication IN4 New Railway Station 83 and Park and Ride site – Cottam 90 ST1 Parking Standards DELETED – See Inspector’s Report Main Modification MM7 91 ST2 General Transport Considerations 37 MD1 Cottam 94 GB1 Green Belt NEW POLICY – See Inspector’s Report 38 MD2 North West Preston Main Modification MM27 42 AD1(a) Development within 95 EN1 Development in the (or in close proximity to) Open Countryside the Existing Residential Area 97 EN2 Protection and Enhancement 42 AD1(b) Small scale development within
    [Show full text]
  • PRESTON TITHEBARN REGENERATION, PRESTON, Lancashire
    PRESTON TITHEBARN REGENERATION, PRESTON, Lancashire Archaeological desk-based assessment Oxford Archaeology North November 2007 Ramboll Whitybird, on behalf of the Preston Tithebarn Partnership NGR (centred): SD 541 294 OA North Ref No: L9902 Preston Tithebarn Regeneration Area, Preston, Lancashire: Archaeological Desk-Based Assessment 1 CONTENTS SUMMARY .......................................................................................................................3 ACKNOWLEDGEMENTS ...................................................................................................5 1. INTRODUCTION ..........................................................................................................7 1.1 Circumstances of Project.....................................................................................7 2. METHODOLOGY .........................................................................................................9 2.1 Project Design.....................................................................................................9 2.2 Legislative Framework........................................................................................9 2.3 Planning Policy Context....................................................................................10 2.4 Desk-Based Assessment....................................................................................12 2.5 Walkover Survey...............................................................................................13 2.6 Assessment Methodology
    [Show full text]
  • View Annual Report
    ITV plc Annual Report and Accounts 2018 December 31 ended year the for ITV plc Annual Report and Accounts for the year ended 31 December 2018 Welcome to the 2018 Annual Report We are an integrated producer broadcaster, creating, owning and distributing high-quality content on multiple platforms. This is so much More than TV as we have known it. 4 ITV at a Glance 18 28 Market Review Key Performance Indicators 6 32 Chairman’s Operating and Statement Performance Review 1 Strengthen Integrated broadcaster 8 24 producer Chief Executive’s Our Strategy 2 3 Grow Create UK and global Direct to Report production consumer 26 46 54 Our Business Model Finance Risks and Review Uncertainties Contents Strategic Report Strategic Key financial highlights Contents Group external revenue1 Non-advertising revenue2 Strategic Report 2018 Highlights 2 ITV at a Glance 4 Governance £3,211m £1,971m Chairman’s Statement 6 Chief Executive’s Report 8 (+3%) (+5%) Investor Proposition 14 (2017: £3,130m) (2017: £1,874m) Non-Financial Information Statement 15 Corporate Responsibility Strategy 16 Adjusted EBITA3 Statutory EBITA Market Review 18 Our Strategy 24 £810m £785m Our Business Model 26 Key Performance Indicators 28 (-4%) (-3%) Operating and Performance Review 32 (2017: £842m) (2017: £810m) Alternative Performance Measures 44 Financial Statements Finance Review 46 Adjusted EPS Statutory EPS Risks and Uncertainties 54 15.4p 11.7p (-4%) (+15%) Governance Chairman’s Governance Statement 64 (2017: 16.0p) (2017: 10.2p) Board of Directors 66 Management Board 68 Dividend per share p (ordinary) Leverage4 Corporate Governance 70 Audit and Risk Committee Report 80 8.0p 1.1x Remuneration Report 92 Additional information (+3%) (2017: 1.0x) Directors’ Report 109 (2017: 7.8p) Financial Financial Statements 117 Statements Independent Auditor’s Report 118 Primary Statements 125 Corporate website ITV plc Company Financial We maintain a corporate website at www.itvplc.com containing Statements 189 our financial results and a wide range of information of interest to institutional and private investors.
    [Show full text]