EIC0330 Written Evidence Submitted by Paul Ludford Introduction to APL

Total Page:16

File Type:pdf, Size:1020Kb

EIC0330 Written Evidence Submitted by Paul Ludford Introduction to APL EIC0330 Written evidence submitted by Paul Ludford Introduction to APL Event Limited We are a family business, a Limited company, working from home, with four family directors, based in North East England, with an annual turnover pre-CV of £240k, responsible for employment of up to twenty-five persons during the outdoor music events and festival season running May to September. The company has been operating as a Limited company for seven years, and prior for twenty years plus, as a partnership. We act as project, production, safety and site management during the planning and on-site periods of music events and festivals, providing many years of experience and knowledge in the effective safe planning and execution of events such as Creamfields, Download, Camp Bestival, Glastonbury, T in the park etc., within a multi-million pound music events and festivals industry. Reasons for submitting evidence The financial support from government has specific qualifying requirements and despite our sector being hit on the frontline by government-imposed lockdowns, our qualification is severely limited. Our income window is limited by the short operational season, (May to Sept) and has been significantly reduced in the current financial period by 55%, due to government-imposed lockdowns. Due to the specific seasonal nature of our sector, bounce back will not commence until next events seasons in 2021, with recovery extending into 2022. Immediate impact The lockdown and restrictive gatherings of persons in excess of two, is closing all music events and festivals. Our income in the current financial year October 2019/20, is reduced by 55% with no further income projected until next year, 2021, with recovery extending into the following financial year, 2021/22. Job Retention Scheme In keeping with many small self-employed Limited companies, our earnings are partly paid through PAYE and partly dividends; consequently, JRS covers 40% of our true earnings, not 80% as paid under PAYE or SEISS. In calculating the JRS payment, the true earnings of a SME self-employed limited company director should be taken into consideration, including declared dividends. Alternatively, JRS payment should be based on declared profits (excluding salaries and dividends), as the SEISS scheme. 30/04/2020 Page 1 of 3 EIC0330 On April 27th, the Treasury Select Committee Chair recommended to Government that self- employed furloughed directors’ dividends are counted when it comes to the assessment of the furlough amount they can qualify for. This needs immediate action. Support to Businesses and Financial Services Small Business Grant We work from home and are not registered for business rates, consequently we do not currently qualify for the governments Small Business Grant of £10k. On 2nd May Government provided Top-up to local business grant funds scheme; a discretionary fund to accommodate small businesses previously outside the scope of the business grant funds scheme. To date, no further details have been provided Bounce Back Loan The Bounce Back Loan Scheme is a welcome support, however: It is interest free for only twelve months – our recovery will be at the least eighteen to twenty-four months. The low rate of interest after twelve months is 2.5%. All additional costs after twelve months will prevent and delay our recovery. The Bounce Back Loan is of no interest to me, and many other SME's, as it does not replace lost sales and is not a grant, as benefitted from SEISS. How effective is the governments support? The one shoe fits all approach does not address the needs of all businesses: The Small Business Grant of £10k would help enormously. JRS on 80% of our true earnings would ensure continuing employment. The Bounce Back Loan interest free period extended over two/three years will help recovery The differences in existing and required financial support are detailed below: Financial Support Detail Existing Required Small Business Grant Nil £10k Job Retention Scheme – 4 months £14.2k £30.5k Totals £14.2k £40.5k These figures demonstrate the huge difference between current and required justifiable grants, (which others benefit from), and are the difference between the company continuing, or ceasing to trade. Management and cash flow accounts are available to show this. Support from HMRC regarding long term deferment of PAYE, P11D and Corporation tax payments is essential, without such, liquidation and winding up of the company is inevitable. 30/04/2020 Page 2 of 3 EIC0330 Due to the one shoe fits all approach, businesses with little need of financial support have benefitted from the Small Business Grant, JRS or SEISS; whilst others have slipped through the net and are receiving limited, inadequate support and face closure. Long term impact The government and Rishi Sunack are failing in their promise to do “whatever it takes” to support households and businesses through the worst of the coronavirus outbreak. The plan, “Our Plan for People’s Jobs and Incomes,” is not doing what he and the government intended it to do. Immediate action is required to help long established SME’s like ours; an event-based business, Limited company, working from home, earning salary through a combination of dividend and PAYE. We need immediate financial support (as others are receiving), to get through the worst of the coronavirus outbreak and be able to bounce back and recover in future years. Lessons learned One shoe does not fit all. Small businesses operating within the events industry need specific help, particularly as our work and income is seasonal and there will be no immediate bounce back. SME’s, more notably SE’s, such as sole traders, partnerships, self-employed Limited Companies with few directors, and lower turnovers, need a voice … and be listened to. SE’s are not the focal point of government led business support forums, partly because SE’s do not seek assistance from such groups, and partly because forums tend to focus on ME’s. There are huge differences between SE and ME businesses; the ways they are financed, managed, and operated, and consequently need different types of support. May 2020 30/04/2020 Page 3 of 3.
Recommended publications
  • ANDERTON Music Festival Capitalism
    1 Music Festival Capitalism Chris Anderton Abstract: This chapter adds to a growing subfield of music festival studies by examining the business practices and cultures of the commercial outdoor sector, with a particular focus on rock, pop and dance music events. The events of this sector require substantial financial and other capital in order to be staged and achieve success, yet the market is highly volatile, with relatively few festivals managing to attain longevity. It is argued that these events must balance their commercial needs with the socio-cultural expectations of their audiences for hedonistic, carnivalesque experiences that draw on countercultural understanding of festival culture (the countercultural carnivalesque). This balancing act has come into increased focus as corporate promoters, brand sponsors and venture capitalists have sought to dominate the market in the neoliberal era of late capitalism. The chapter examines the riskiness and volatility of the sector before examining contemporary economic strategies for risk management and audience development, and critiques of these corporatizing and mainstreaming processes. Keywords: music festival; carnivalesque; counterculture; risk management; cool capitalism A popular music festival may be defined as a live event consisting of multiple musical performances, held over one or more days (Shuker, 2017, 131), though the connotations of 2 the word “festival” extend much further than this, as I will discuss below. For the purposes of this chapter, “popular music” is conceived as music that is produced by contemporary artists, has commercial appeal, and does not rely on public subsidies to exist, hence typically ranges from rock and pop through to rap and electronic dance music, but excludes most classical music and opera (Connolly and Krueger 2006, 667).
    [Show full text]
  • Executive of the Week: Columbia Records Senior VP
    Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE JULY 9, 2021 Page 1 of 18 INSIDE Executive of the Week: • Inside Track: How the Music Business Columbia Records Senior VP Is Preparing to Return to the Office Marketing Jay Schumer • Health Professionals on the Mental Toll of BY DAN RYS Returning to Shows Mid-Pandemic yler, The Creator’s sixth album, CALL ME extensively, and how marketing has changed over the • Shamrock Capital, IF YOU GET LOST, was a smash hit upon course of his career. “Fans have a lot of things they After Buying Taylor its release: 169,000 equivalent album units, could be doing at any given moment,” he says, “so you Swift’s Catalog, the single week highest of his career; a better be giving them a really good reason to give you Raises $200M to Tsecond straight No. 1 on the Billboard 200, and sixth their attention.” Loan to Creators straight top five; and a promotional campaign that in- Tyler, The Creator’s CALL ME IF YOU GET • For the First Time, cluded a performance at the BET Awards and several LOST debuted at No. 1 on the Billboard 200 this People of Color well-received music videos. week with 169,000 equivalent album units, the Dominate Recording It also was another release from the artist that came highest mark of his career. What key decisions did Academy Board of bundled with an innovative marketing plan, helped you make to help make that happen? Trustees: Exclusive by a rollout featuring a phone number that fans could The success of this album comes first and foremost • Taylor Swift, call to receive personalized messages from Tyler, from having an artist like Tyler who is one-of-a-kind Jack Antonoff & which followed the VOTE IGOR campaign that Tyler and has continued to grow with every release.
    [Show full text]
  • Using Green Man Festival As a Case Study
    An Investigation to identify how festivals promotional techniques have developed over the years – using Green Man Festival as a case study Victoria Curran BA (hons) Events Management Cardiff Metropolitan University April 2018 i Declaration “I declare that this Dissertation has not already been accepted in substance for any degree and is not concurrently submitted in candidature for any degree. It is the result of my own independent research except where otherwise stated.” Name: Victoria Curran Signed: ii Abstract This research study was carried out in order to explore the different methods of marketing that Green Man Festival utilises, to discover how successful they are, and whether they have changed and developed throughout the years. The study intended to critically review the literature surrounding festivals and festival marketing theories, in order to provide conclusions supported by theory when evaluating the effectiveness of the promotional strategies. It aimed to discover how modern or digital marketing affected Green Man’s promotional techniques, to assess any identified promotional techniques and identify any connections with marketing theory, to investigate how they promote the festival towards their target market, and to finally provide recommendations for futuristic methods of promotion. The dissertation was presented coherently, consisting of five chapters. The first chapter was the introduction, providing a basic insight into the topics involved. The second contains a critical literature review where key themes were identified; the third chapter discussed the methodology used whilst the fourth chapter presents the results that were discovered, providing an analysis and discussion. The final chapter summarises the study, giving recommendations and identifying any limitations of the study.
    [Show full text]
  • 59˚ 42 Issue Four
    issue four 59˚ 42 14 12 03 Editor’s Letter 22 04 Disposed Media Gaming 06 Rev Says... 07 Wishlist 08 Gamer’s Diary 09 BigLime 10 News: wii 11 Freeware 12 User Created Gaming 14 Shadow Of The Colossus 16 Monkey Island 17 Game Reviews Music 19 Festivals 21 Good/Bad: The New Emo 26 22 Mogwai 23 DoorMat 24 Music Reviews Films 26 Six Feet Under 28 Silent Hill 30 U-Turn 31 Film Reviews Comics 33 Marvel’s Ultimates Line 35 Scott Pilgrim 36 Wolverine 37 Comic Reviews Gallery 33 42 Next Issue... Publisher Tim Cheesman Editors Andrew Revell/Ian Moreno-Melgar Art Director Andrew Campbell Contributors Dan Gassis/Jason Brown/Jason Robbins/Adam Parker/Robert Florence/Keith Andrew /Jamie Thomson/Danny Badger Designers Peter Wright/Rachel Wild Cover-art Melanie Caine [© Disposable Media 2006. // All images and characters are retained by original company holding.] DM4/EDITOR’S LETTER So we’ve changed. We’ve CHANGE IS GOOD.not been around long, but we’re doing ok. We think. But we’ve changed as we promised we would in issue 1 to reflect both what you asked for, and also what we want to do. It’s all part of a long term goal for the magazine which means there’ll be more issues more often, as well as the new look and new content. You might have noticed we’ve got a new website as well; it’ll be worth checking on a very frequent basis as we update it with DM news, and opinion. We’ve also gone and done the ‘scene’ thing and set up a MySpace page.
    [Show full text]
  • 1489596882 BL Festivals Guid
    WE’RE FESTIVAL VETERANS Getting value for money from your festival branding activity requires research, planning, creativity, and an appreciation that you’re venturing into an environment where brands can be welcomed, tolerated, ignored or vilified. We have a long history of helping clients win cut through at festivals around the world, these include: R ECOVE FESTIVALS NOT RIGHT F OR YOU? THINK AGAIN With younger festival goers increasingly priced out of the game, today’s festival audience largely comprises Millenials, people in their thirties. This also explains the increasing number of festivals catering for families, cultural, literary and culinary enthusiasts. It also means an opening of the way for brands that previously might have never thought about investing in a festival. And a growing number are realising this is an environment that can yield results; there’s a lot more to festivals than mud, booze, rock and roll. KNOW YOUR FESTIVAL HEDONISTIC Global Gathering, Big Chill, Exit, Tribal Gathering, Tommorowland, Boom Town, 2000Trees MAINSTREAM Glastonbury, V Festival, Big Day Out, Tea in the Park, Oxygen, Isle of Wight, Wireless, Reading & Leeds Festivals FAMILY FRIENDLY/ CULTURAL Secret Garden Party, Sonar, Green Man, WOMAD, Camp Bestival, Big Feastival, Wilderness, Somersault Brands that can work their way into the festival environment in a natural, creative way can engage this audience while they’re in a highly receptive state. To do this, there are a couple of simple principles we employ: 1. IDENTIFY ‘WHY’ Identifying your ‘why’ is all about finding a festival with which your brand can legitimately demonstrate a shared purpose, common ethics and values.
    [Show full text]
  • SPRING / SUMMER 2017 ‘Morning After’ Drink Drive Campaign Resources the ISSUE
    morning-after.org.uk @morning__after SPRING / SUMMER 2017 ‘MoRNING AftER’ dRINk dRIvE cAMPAIGN RESoURcES tHE ISSUE There are dozens of music festivals all over the UK during the spring/summer months, many of which draw huge crowds. Many festivalgoers are likely to consume large quantities of alcohol over two to three days and then quite possibly drive home the morning after the event. But it’s not only people attending festivals who are susceptible to morning after drink driving; during the summer months large amounts of alcohol are often consumed at weddings, BBQs and evening parties. Our campaign highlights the issue of morning after drink driving in an informative and non-threatening manner. We provide people with information to help them make an informed decision as to whether they will be safe and legal to drive the ‘morning after’. STENNIK | TWO RESoURcES For several years the ‘Morning After’ campaign has Summer provided low-cost resources to enable road safety teams and other stakeholders to remind drivers about of this issue. Festival Day one Day two The summer 2017 resources include a ‘summer festival’ 6 PINTS 4 BOTTLES poster (right), summer night out poster (next page), A6 OF BEER OF CIDER postcards and a wallet sized drink drive information card (below). m 5 VODKAS 5 G&TS o r n 3 SHOTS i 4 SHOTS n The resources are backed by an g - a LONG ISLAND ICE TEA BOTTLE OF PROSECCO ( f established website which t e r SEX ON THE BEACH TEQUILA SUNRISE . received more than 800,000 page o r g views in 2016), an online drinks .
    [Show full text]
  • Sponsorship Packages
    SPONSORSHIP PACKAGES 6 DECEMBER - TROXY, LONDON WWW.FESTIVALAWARDS.COM Annual Celebration of the UK Festival Industry THE EVENT An awards ceremony that will leave UK festival organisers feeling celebrated, indulged and inspired. A highlight of the UK Festivals Calendar, the UKFA was founded in 2002 and is now celebrating its 15th year. With over 650 festival organisers, music agents and trade suppliers in attendance, the evening brings together the UK Festival scene’s key players for a night of entertainment, networking, street food, innovative cocktails and an exclusive after party – all held at the historic Troxy in London. Recognising the festival industries’ brightest and best, previous award winners include Michael Eavis (Glastonbury Festival), Peter Gabriel (WOMAD), Download Festival, Latitude and TRNSMT. We look forward to celebrating 2018’s triumphs with this year proving to be bigger and better than ever. THE BENEFITS The Awards offer sponsors the opportunity to network with the UK’s leading festival influencers and gain extensive exposure: EXCLUSIVE NETWORKING OPPORTUNITIES With the UK festival industry’s key players in attendance, the Awards offers unparalleled opportunity to network and engage one-on-one with decision makers. POSITION YOUR BRAND IN FRONT OF THE UK’S TOP FESTIVAL ORGANISERS Last year’s shortlisted festivals are the most influential, established and recognisable in the country. The UK’s greatest influencers will be attending the event and sponsors will have the opportunity to showcase products and services to a broad prospect base. UK FESTIVAL AWARDS 2017 SPONSORS & SUPPORTERS SPONSORSHIP OPPORTUNITIES HEADLINE PARTNER SPONSORSHIP Bespoke Sponsor Packages £20,000 If you are looking for a more unique package, contact us for The Headline Partner package is designed to offer your brand details about bespoke sponsorship packages.
    [Show full text]
  • From Glyndebourne to Glastonbury: the Impact of British Music Festivals
    An Arts and Humanities Research Council- funded literature review FROM GLYNDEBOURNE TO GLASTONBURY: THE IMPACT OF BRITISH MUSIC FESTIVALS Emma Webster and George McKay 1 CONTENTS EXECUTIVE 4 INTRODUCTION 6 THE IMPACT OF FESTIVALS: A SURVEY OF THE FIELD(S) 7 ECONOMY AND CHARITY SUMMARY 8 POLITICS AND POWER 10 TEMPORALITY AND TRANSFORMATION Festivals are at the heart of British music and at the heart 12 CREATIVITY: MUSIC of the British music industry. They form an essential part of AND MUSICIANS the worlds of rock, classical, folk and jazz, forming regularly 14 PLACE-MAKING AND TOURISM occurring pivot points around which musicians, audiences, 16 MEDIATION AND DISCOURSE and festival organisers plan their lives. 18 HEALTH AND WELL-BEING 19 ENVIRONMENT: Funded by the Arts and Humanities Research Council, the LOCAL AND GLOBAL purpose of this report is to chart and critically examine 20 THE IMPACT OF ACADEMIC available writing about the impact of British music festivals, RESEARCH ON MUSIC drawing on both academic and ‘grey’/cultural policy FESTIVALS literature in the field. The review presents research findings 21 RECOMMENDATIONS FOR under the headings of: FUTURE RESEARCH 22 APPENDIX 1. NOTE ON • economy and charity; METHODOLOGY • politics and power; 23 APPENDIX 2. ECONOMIC • temporality and transformation; IMPACT ASSESSMENTS • creativity: music and musicians; 26 APPENDIX 3. TABLE OF ECONOMIC IMPACT OF • place-making and tourism; MUSIC FESTIVALS BY UK • mediation and discourse; REGION IN 2014 • health and well-being; and 27 BIBLIOGRAPHY • environment: local and global. 31 ACKNOWLEDGEMENTS It concludes with observations on the impact of academic research on festivals as well as a set of recommendations for future research.
    [Show full text]
  • Twitter and Health Moses Flash.Pdf
    Twitter and Health Moses Flash, Williams College ’15 SUMR, LDI Program Summer 2014 Raina Merchant, MD MSHP Outline • Introduction • Research Question • Methodology • Results/Discussion • Questions Introduction: What is Twitter? • Created and made public in 2006 • 140 character microblogs • 271 million active users – 500 million tweets per day – 35+ languages – 77% outside US • “To give everyone the power to create and share ideas and information instantly, without barriers”. • Source: https://about.twitter.com/company Research Question • Prior work has identified that Twitter is being used for detecting outbreaks earlier than the CDC, tracking policy implementation, sentiment regarding the ACA, identifying variability in language use by region, and monitoring human behavior. • We sought to identify peer-reviewed publications using Twitter as a database to answer health and health care related questions. • Evaluating use of Twitter as a research tool can help health scientists better understand the opportunities and limitations of this social data Methodology • Databases: PubMed and Web of Science • Keywords “Twitter and health” • Exclusion: publications/studies that weren’t twitter/health related, or were either an editorial, perspective review, case study. • Inclusion: studies that used twitter as a tool to analyze or obtain data on a health-related topic. Methodology • Data extracted from each article: – Author, year, title, journal, research field, methodology, use of Twitter, tweets analyzed, objective, outcomes, time frame of study
    [Show full text]
  • The Festival Take-Over Tribes Live #22
    #22 The festival take-over Tribes Live #22 Tribes Live is Channel 4's online research community, where around 350 16-24s from across the UK share their opinions and ideas to uncover what life is really like growing up in the UK today. Recruited through 4OD and free- find recruitment, our liberal but diverse community represents all 5 planning segments and 34 Tribes in the UK. Tribes Live: The festival take-over Tribes Live #22 “ Festivals are massive milestones in the year because they're kind of a mix of everything great. You went on holiday camping? You went to a concert? You went to a party? You hung out with friends? A music festival is like all of those things combined into one amazing weekend! Holly, 23, Sports Junkie, Mainstream” Page 3 of 14 Tribes Live #22 Escapism Tribes seek an escape from everyday responsibilities and stresses and how better to achieve this than by packing their bags and heading off to a festival? Festivals are more than just the event for Tribes. They’re accessible, exciting and for first time festivalgoers, , offer a real sense of independence but in a relatively safe and controlled environment. For the care-free and often more experienced Tribes on the festival circuit, spontaneity and the Festivals are the one chance for new and unknown experiences is always on offer. ” “ The music festival becomes everything and Festivals are THE big moment in the year for Tribes – for some it’s a rare time every moment in the day involves it. It’s an to gain independence, while others take the chance to explore new music on the live scene.
    [Show full text]
  • Annual Report and Accounts 2007/08 the BBC Executive’S Review and Assessment 07 08
    PART TWO: Annual Report and Accounts 2007/08 The BBC Executive’s review and assessment 07 08 Director- General ’s introduction 01 About the BBC 02 BBC & me 04 BBC Executive Board 24 BBC at a glance 26 Review of services Future Media & Technology 29 Vision 32 Audio & Music 38 Journalism 44 Commercial activities 52 Engaging with audiences 54 ...quality programming that informs Performance us, educates us and more often BBC People 58 than not, entertains us. These three Operations 62 Statements of Programme Policy tenets are as important today as commitments 2007/08 70 when they were first uttered around Finance 80 years ago. Financial overview 82 Governance and financial statements 86 Getting in touch with the BBC 148 Other information Inside back cover THE DIRECTOR -GENERAL 01 WELCOME When I wrote to you a year ago, our award- Despite these difficulties, the BBC has had a downloads and streams. And it’s still growing. winning Gaza correspondent Alan Johnston year of outstanding creative renewal. From There is no evidence that it is impacting was still missing. We didn’t know if we would Cranford to Sacred Music to Gavin and Stacey, our linear television and radio ratings which ever see him again. And then, what we’d all television has lived up to our aim – to delight remain very strong. been hoping, working and praying for: Alan’s audiences. And we have seen the nation share tired but smiling face as he was led to freedom. some of the events that unite us all – from the With Freesat now launched, complementing Concert for Diana to Wales’ triumph at the Six our popular Freeview service, it’s clear But within a few days, we had fresh problems Nations Rugby championship.
    [Show full text]
  • 2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI Via AP Balazs Mohai
    2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI via AP Balazs Mohai Sziget Festival March 26-April 2 Horizon Festival Arinsal, Andorra Web www.horizonfestival.net Artists Floating Points, Motor City Drum Ensemble, Ben UFO, Oneman, Kink, Mala, AJ Tracey, Midland, Craig Charles, Romare, Mumdance, Yussef Kamaal, OM Unit, Riot Jazz, Icicle, Jasper James, Josey Rebelle, Dan Shake, Avalon Emerson, Rockwell, Channel One, Hybrid Minds, Jam Baxter, Technimatic, Cooly G, Courtesy, Eva Lazarus, Marc Pinol, DJ Fra, Guim Lebowski, Scott Garcia, OR:LA, EL-B, Moony, Wayward, Nick Nikolov, Jamie Rodigan, Bahia Haze, Emerald, Sammy B-Side, Etch, Visionobi, Kristy Harper, Joe Raygun, Itoa, Paul Roca, Sekev, Egres, Ghostchant, Boyson, Hampton, Jess Farley, G-Ha, Pixel82, Night Swimmers, Forbes, Charline, Scar Duggy, Mold Me With Joy, Eric Small, Christer Anderson, Carina Helen, Exswitch, Seamus, Bulu, Ikarus, Rodri Pan, Frnch, DB, Bigman Japan, Crawford, Dephex, 1Thirty, Denzel, Sticky Bandit, Kinno, Tenbagg, My Mate From College, Mr Miyagi, SLB Solden, Austria June 9-July 10 DJ Snare, Ambiont, DLR, Doc Scott, Bailey, Doree, Shifty, Dorian, Skore, March 27-April 2 Web www.electric-mountain-festival.com Jazz Fest Vienna Dossa & Locuzzed, Eksman, Emperor, Artists Nervo, Quintino, Michael Feiner, Full Metal Mountain EMX, Elize, Ernestor, Wastenoize, Etherwood, Askery, Rudy & Shany, AfroJack, Bassjackers, Vienna, Austria Hemagor, Austria F4TR4XX, Rapture,Fava, Fred V & Grafix, Ostblockschlampen, Rafitez Web www.jazzfest.wien Frederic Robinson,
    [Show full text]