Jack Myers Hosts “Leadership Conversations for Renewal And
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Lessons from Disney Disney is a household name, known around the world for its theme parks, movies and loveable characters. Since it was founded in 1923, the company has been focused on creating magical experiences for people, whether they’re visiting a theme park, watching a Disney film, or staying in a Disney hotel. For almost 100 years, Disney has overcome failure and experienced tremendous growth. It has had to grow and evolve to deal with market challenges, advances in technology and changing customer demands. What has remained constant through this time, however, is Disney’s commitment to pioneering innovation, leveraging opportunities, and evolving their strategy to meet changing market conditions. Establishing the Disney brand Disney enjoyed tremendous success during its first 30 years. In 1928, Disney created the first film with synchronised sound, and in 1937 it created the first full length feature animated film. Both projects were world firsts, establishing Disney as an innovation leader (before innovation was a thing!). After a decline in success during the Second World War, Walt Disney recognised the need for new ways to share content and grow revenue and breathe new life back into the company. In 1950, the company made the leap to television with the release of One Hour in Wonderland, a promotion for the upcoming film, Alice in Wonderland. Disney and television In July 1954, Walt Disney started building Disneyland, and a year and a day after construction started, the park was opened. To try and recoup some of the US$17 million build cost, Disney sought to leverage his earlier television success and bring his beloved theme park to people’s homes. -
Media Ownership Chart
In 1983, 50 corporations controlled the vast majority of all news media in the U.S. At the time, Ben Bagdikian was called "alarmist" for pointing this out in his book, The Media Monopoly . In his 4th edition, published in 1992, he wrote "in the U.S., fewer than two dozen of these extraordinary creatures own and operate 90% of the mass media" -- controlling almost all of America's newspapers, magazines, TV and radio stations, books, records, movies, videos, wire services and photo agencies. He predicted then that eventually this number would fall to about half a dozen companies. This was greeted with skepticism at the time. When the 6th edition of The Media Monopoly was published in 2000, the number had fallen to six. Since then, there have been more mergers and the scope has expanded to include new media like the Internet market. More than 1 in 4 Internet users in the U.S. now log in with AOL Time-Warner, the world's largest media corporation. In 2004, Bagdikian's revised and expanded book, The New Media Monopoly , shows that only 5 huge corporations -- Time Warner, Disney, Murdoch's News Corporation, Bertelsmann of Germany, and Viacom (formerly CBS) -- now control most of the media industry in the U.S. General Electric's NBC is a close sixth. Who Controls the Media? Parent General Electric Time Warner The Walt Viacom News Company Disney Co. Corporation $100.5 billion $26.8 billion $18.9 billion 1998 revenues 1998 revenues $23 billion 1998 revenues $13 billion 1998 revenues 1998 revenues Background GE/NBC's ranks No. -
Parker Review
Ethnic Diversity Enriching Business Leadership An update report from The Parker Review Sir John Parker The Parker Review Committee 5 February 2020 Principal Sponsor Members of the Steering Committee Chair: Sir John Parker GBE, FREng Co-Chair: David Tyler Contents Members: Dr Doyin Atewologun Sanjay Bhandari Helen Mahy CBE Foreword by Sir John Parker 2 Sir Kenneth Olisa OBE Foreword by the Secretary of State 6 Trevor Phillips OBE Message from EY 8 Tom Shropshire Vision and Mission Statement 10 Yvonne Thompson CBE Professor Susan Vinnicombe CBE Current Profile of FTSE 350 Boards 14 Matthew Percival FRC/Cranfield Research on Ethnic Diversity Reporting 36 Arun Batra OBE Parker Review Recommendations 58 Bilal Raja Kirstie Wright Company Success Stories 62 Closing Word from Sir Jon Thompson 65 Observers Biographies 66 Sanu de Lima, Itiola Durojaiye, Katie Leinweber Appendix — The Directors’ Resource Toolkit 72 Department for Business, Energy & Industrial Strategy Thanks to our contributors during the year and to this report Oliver Cover Alex Diggins Neil Golborne Orla Pettigrew Sonam Patel Zaheer Ahmad MBE Rachel Sadka Simon Feeke Key advisors and contributors to this report: Simon Manterfield Dr Manjari Prashar Dr Fatima Tresh Latika Shah ® At the heart of our success lies the performance 2. Recognising the changes and growing talent of our many great companies, many of them listed pool of ethnically diverse candidates in our in the FTSE 100 and FTSE 250. There is no doubt home and overseas markets which will influence that one reason we have been able to punch recruitment patterns for years to come above our weight as a medium-sized country is the talent and inventiveness of our business leaders Whilst we have made great strides in bringing and our skilled people. -
Ascential Secure
Ascential Secure Enhanced Health & Safety Standards at Ascential’s Events in a Post-COVID-19 World 1 About Ascential Secure Ascential Secure is our approach to enhanced health and safety standards at our events following COVID-19. From exhibitors to sponsors, speakers, visitors and journalists, those who come to our events do so to gain the information, insights, connections, data and digital tools that they need, effectively and safely. The standards and practices that make up Ascential Secure are designed to provide confidence that at every Ascential event, we are striving to provide the highest standards of safety, hygiene, cleanliness and quality. Whether they are exhibitors, attendees, visitors, speakers or sponsors, people come to events to connect, learn, know more and do more business, effectively, safely and with confidence. Ascential Secure is based on a set of event industry standards, called AllSecure. The AllSecure industry standards were developed collaboratively by a group including industry associations UFI, AEO and SISO, event organisers Informa, Reed Exhibitions and Clarion, a range of event venues, suppliers and with input from health, government and local authorities. Ascential Secure is the way these industry-wide AllSecure standards are being applied to Ascential live events. You can expect to see that health and safety continues to be a priority, and that a range of measures are in place to ensure everyone involved is able to enjoy a safe, hygienic, productive and high-quality organised event experience. As a starting point, Ascential Secure events will be run according to the guidance of the government or official local authority for that location, and according to any venue-specific regulations. -
* Feature Resume-Letrhd
Glenn Berkovitz, CAS <[email protected]> 310- 902-1148 Production Sound Mixer Films for theatrical release: MENTRYVILLE, Spores LLC / Studioline-Lionsgate - Dir.: Jason Dudek WHEN A STRANGER CALLS, Screen Gems / Sony Pictures - Dir.: Simon West SEXUAL LIFE, Showtime Pictures / Viacom - Dir.: Ken Kwapis ZERO EFFECT, Castle Rock Pictures / Columbia Pictures - Dir.: Jake Kasdan DAREDEVIL (extensive 2nd unit/additional photog.), 20th Century Fox - Dir.: Mark Steven Johnson LOST & FOUND (shared credit), Alcon Entertainment - Dir.: Jeff Pollack RUSH HOUR ; RUSH HOUR 2 (extensive additional photography), New Line Cinema - Dir.: Brett Ratner FREEJACK, Morgan Creek Films / Warner Bros. - Dir.: Geoff Murphy HARD PROMISES, Stone Group Films/Columbia Pictures - Dir.: Martin Davidson, Lee Grant SNIPER (U.S. unit), Tri-Star Films / Baltimore Pictures - Dir.: Luis Llhosa BUFFY THE VAMPIRE KILLER (extensive add’l photog.), 20th Century Fox Prod.-Dir.: Fran Kozui LOVE POTION #9 (shared credit), 20th Century Fox Productions - Dir.: Dale Launer YOUNG GUNS II, Morgan Creek Films/20th Century Fox Productions - Dir.: Geoff Murphy MANNEQUIN ON THE MOVE, Gladden Entertainment - Dir.: Stewart Raffill ROBOCOP 2, Orion Film Productions - Dir.: Irvin Kirshner REPOSSESSED, First Class Films/Carolco Productions - Dir.: Robert Logan MISS FIRECRACKER, Corsair Films/United Artists Films - Dir.: Thomas Schlamme THE HEART OF DIXIE, Steve Tisch Films/Orion Film Productions - Dir.: Martin Davidson LESS THAN ZERO, Avnet-Kerner Productions/20th Century Fox Prod. - Dir.: Marek -
Introduction to Ascential Our Investment Case
INTRODUCTION TO ASCENTIAL OUR INVESTMENT CASE Clear long-term vision. Helping leading global brands connect with their customers in a data-driven world. Structural growth. Demand for information, data & analytics driven by growth of digital commerce. Market leaders. We are leaders, with a unique blend of specialisms, in the high growth areas in which we operate. Robust business model. High recurring and repeat revenue, with more than 50% revenues from digital subscription and platforms, across diverse global customer base. Attractive financial profile. Track record of high single digit revenue growth, strong margins and cash generation, supported by sound capital allocation. Introduction to Ascential 2 OUR CUSTOMER PROPOSITION Our information products and platforms support our customers to do three simple things… CREATE THE RIGHT MAXIMISE THE OPTIMISE DIGITAL PRODUCTS BRAND MARKETING COMMERCE IMPACT Know which products Know how to get Know how to execute the consumer wants maximum creativity with with excellence on the tomorrow. optimised media. winning platforms. 1. 2. 3. Introduction to Ascential 3 SEGMENTAL OVERVIEW –2019 Segment Revenue % Revenue1 Growth1 EBITDA2 Margin Business Model Advisory 10% Digital Subscriptions Product £86m 21% +8% £36m 42% & Platforms 90% Design Digital Subscriptions Advisory & Platforms 11% Marketing £136m 32% +9% £51m 37% 37% Events 52% Advisory 6% Digital Subscriptions & Sales - Platforms 94% Digital £90m 22% +21% £13m 15% Commerce Sales - Digital Subscriptions & Events Platforms 4% Non Digital £68m 16% -
Pioneering Tool to Manage Media Industry's Digital Carbon Footprint 13 January 2020
Pioneering tool to manage media industry's digital carbon footprint 13 January 2020 industry understand and manage the carbon impact of digital media. Mapping the carbon footprint of digital services like advertising, publishing and broadcasting is difficult because the underlying technological systems are hugely complex and constantly shifting. Media content passes through content delivery networks, data centres, web infrastructure and user devices, to name just a few, with each element of the delivery chain having different owners. With climate change high on the agenda, DIMPACT The online tool with help media industry manage its will allow participating companies to understand digital carbon footprint. Credit: Pixabay/ University of their 'downstream' carbon impacts, right through to Bristol the end-user. This, in turn, will enable more informed decision-making to reduce the overall carbon footprint of digital services. A collaboration between computer scientists at the University of Bristol and nine major media "We know that more and more of our interactions companies, including ITV and BBC, will help the happen online, and screens play an ever more media industry understand and manage the important role in our lives. We can say with significant carbon impacts of digital content. absolute certainty that the digital economy will continue to grow. What we don't know is how those The 12-month collaboration, facilitated by modes of digital consumption translate into carbon sustainability experts, Carnstone, will see impacts and where the 'hotspots' reside. DIMPACT University of Bristol researchers working with will change that," said Christian Toennesen, Senior sustainability and technology teams at the BBC, Partner at Carnstone and DIMPACT's initiator and Dentsu Aegis Network, Informa, ITV, Pearson, product manager. -
Monthly Business & Tech-Enabled Services Sector Summary Report
BUSINESS AND TECH-ENABLED SERVICES SECTOR REPORT March 2018 1 BUSINESS & TECH-ENABLED SERVICES DEAL DASHBOARD $94.4 Billion 788 M&A Volume YTD M&A Transactions YTD Quarterly M&A Volume ($Bn) and Deal Count Select M&A Transactions 100 $94.4 Announced Date Acquirer Target EV ($MM) 80 3/29/2018 NA 60 $48.5 $45.1 $45.5 $37.1 3/29/2018 NA 40 $31.1 $24.6 $27.4 $26.9 $19.1 $19.2 $21.7 Volume ($Bn) Volume $14.9 20 3/28/2018 $4,000 (Sig. M inority Stake) 0 3/26/2018 NA Q1 '15Q2 '15Q3 '15Q4 '15Q1 '16Q2 '16Q3 '16Q4 '16Q1 '17Q2 '17Q3 '17Q4 '17Q1 '18 (Investment) 1200 3/21/2018 NA 966 944 964 995 986 1000 901 929 917 875 894 797 788 788 800 3/21/2018 NA 600 3/19/2018 $1,180 Deal Count Deal 400 200 3/15/2018 $383 0 Q1 '15Q2 '15Q3 '15Q4 '15Q1 '16Q2 '16Q3 '16Q4 '16Q1 '17Q2 '17Q3 '17Q4 '17Q1 '18 3/15/2018 NA (1) Last 12 Months Business & Tech-Enabled Services Performance vs. S&P 500 3/14/2018 NA (Investment) 125.0% 3/13/2018 $205 120.0% 115.0% 3/13/2018 NA 110.0% 105.0% 3/12/2018 $108 100.0% 3/6/2018 $564 95.0% 90.0% 3/5/2018 NA Apr-17 May-17 Jun-17 Jul-17 Aug-17 Sep-17 Oct-17 Nov-17 Dec-17 Jan-18 Feb-18 Mar-18 Apr-18 Business & Tech-Enabled Services S&P 500 3/1/2018 NA (Investment) Notes: 2 Source: Capital IQ and PitchBook. -
Cartooning America: the Fleischer Brothers Story
NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms. -
CARAT Client: MANAPPURAM a Trading Division Under Dentsu Manappuram Finance Ltd Aegis Network Communications Lndia Private Limited
6*ep COTIFIDENTIAL DENTSU AEGIS NETWORK SERVICES AGREEMENT COMMERCIAL TERM SHEE]' .: . l:r : :r '::: :PARi[IES:, Agepc CARAT Client: MANAPPURAM A trading division under Dentsu Manappuram Finance Ltd Aegis Network Communications lndia Private Limited Cl N : U74300MH1986PTC039002 Address: 601-8 Wing, Poonam Chambers, Addr.€.' w l 47O (old) W63BA (New), l:, l:- l1 . ,:1:: l'1. Manappuram House, Valapad, DR. A B Road, Worli, Mumbai- :,:.1:; :.1 r:::::i.: l; !;ii, r. '- 400018 ir:. r::r:-:. l Thrissur, l(erala,lndia - 680 567 TERIV'Ii' rl GI Start,Date: .TUN€ >o\'t O I Tu uY wlV 30 ;l X AUTO RENEW EI --l-lrrlf-r- : - -:: _::-: CI SERV-leEil ,:,.;i; - -,. ;:N -"i Qr- AII lndia except Kerala iht d t- *i tr lVledia Services ril ;i D Creative Services ;; it ]> "-t Z E other Services 1.) )j U p F The Services are more particularly described in each applicable Statement of Wofk.s* BilbS U Mediir I Offline # nEffitr i i,lr, i : r::. r tr'Out of Home H $HHtr i"il s s#fi* li ili El Digital Services {including Display, Performance, SEM, Social, Mobile) ff oSi*x 'l itii H !s!)ttr , $t*="' tf ("T&Cs") nd schedrrles ttw,rijq$-.i This Commercial Term Sheet must be read alongside the Terms and Conditions and schedullgs H are attached to this CommercialTerm Sheet. The T&Cs and schedules, together with this Commercial TEm S h'dct fr paYties; aand' entered into on 08 day of April 2019 constitute a binding agreement f'Agreement") between the 0l will apply to any media schedule, work order and/or any services supplied to the Client by Agency duringI trne Executed for and on behalf of CIi nt//":;. -
2017-2018 Annual Investment Report Retirement System Investment Commission Table of Contents Chair Report
South Carolina Retirement System Investment Commission 2017-2018 Annual Investment Report South Carolina Retirement System Investment Commission Annual Investment Report Fiscal Year Ended June 30, 2018 Capitol Center 1201 Main Street, Suite 1510 Columbia, SC 29201 Rebecca Gunnlaugsson, Ph.D. Chair for the period July 1, 2016 - June 30, 2018 Ronald Wilder, Ph.D. Chair for the period July 1, 2018 - Present 2017-2018 ANNUAL INVESTMENT REPORT RETIREMENT SYSTEM INVESTMENT COMMISSION TABLE OF CONTENTS CHAIR REPORT Chair Report ............................................................................................................................... 1 Consultant Letter ........................................................................................................................ 3 Overview ................................................................................................................................... 7 Commission ............................................................................................................................... 9 Policy Allocation ........................................................................................................................13 Manager Returns (Net of Fees) ..................................................................................................14 Securities Lending .....................................................................................................................18 Expenses ...................................................................................................................................19 -
FTSE Factsheet
FTSE COMPANY REPORT Share price analysis relative to sector and index performance Data as at: 27 March 2020 Ascential ASCL Media — GBP 2.424 at close 27 March 2020 Absolute Relative to FTSE UK All-Share Sector Relative to FTSE UK All-Share Index PERFORMANCE 21-Apr-2015 1D WTD MTD YTD Absolute - - - - Rel.Sector - - - - Rel.Market - - - - VALUATION Data unavailable Trailing PE 6.6 EV/EBITDA 15.0 PB 2.5 PCF 23.9 Div Yield 1.7 Price/Sales 4.0 Net Debt/Equity 0.5 Div Payout 11.1 ROE 47.0 DESCRIPTION Data unavailable The Company is an International Business-to- Business Media Company with a focused portfolio of market-leading Events and Information Services Products. See final page and http://www.londonstockexchange.com/prices-and-markets/stocks/services-stock/ftse-note.htm for further details. Past performance is no guarantee of future results. Please see the final page for important legal disclosures. 1 of 4 FTSE COMPANY REPORT: Ascential 27 March 2020 Valuation Metrics Price to Earnings (PE) EV to EBITDA Price to Book (PB) 28-Feb-2020 28-Feb-2020 28-Feb-2020 100 28 8 ‖ +1SD 90 26 7 80 70 24 6 +1SD Avg 60 22 50 5 40 20 Avg +1SD 4 30 -1SD 18 20 Avg 16 3 -1SD 10 -1SD 0 14 2 Mar-2015 Mar-2016 Mar-2017 Mar-2018 Mar-2019 Mar-2015 Mar-2016 Mar-2017 Mar-2018 Mar-2019 Mar-2015 Mar-2016 Mar-2017 Mar-2018 Mar-2019 Hyve Group 120.0 Rightmove 26.6 Rightmove 25.0 Future 120.0 Future 24.6 Auto Trader Group 25.0 STV Group 102.9 4imprint Group 21.0 4imprint Group 22.9 Informa 41.1 Euromoney Institutional Investor 20.8 RELX 16.8 Auto Trader Group Moneysupermarket.com