JYP Entertainment (035900.KQ) BUY / TP KRW24,000 March 16, 2020 Leisure/Entertainment/Small-Cap Peter Yoo +822-3787-2574 [email protected]

Total Page:16

File Type:pdf, Size:1020Kb

JYP Entertainment (035900.KQ) BUY / TP KRW24,000 March 16, 2020 Leisure/Entertainment/Small-Cap Peter Yoo +822-3787-2574 Airrio@Hmsec.Com Company Note JYP Entertainment (035900.KQ) BUY / TP KRW24,000 March 16, 2020 Leisure/Entertainment/Small-Cap Peter Yoo +822-3787-2574 [email protected] 4Q19 earnings surprise but an uncertain future Share price (KRW, Mar 13) 17,900 1) Investment highlights Upside (%) 34.1 We maintain BUY on JYP Entertainment but cut our target price to KRW24,000. Market cap (KRW bn) 635 TWICE generated MD sales from its dome tour in Japan, digital sales overseas, and YouTube sales. Shares outstanding (’000) 35,495 ITZY’s new single Wannabe is a hit. The advertising market’s awareness of ITZY increased in 4Q19. Paid-in capital (KRW bn)/ Face value 18/500 (KRW) Offline activities have been impossible since March because of the growing coronavirus pandemic, 52-week high/low (KRW) 32,500/16,950 and this will have a negative impact on earnings until 2Q20 or longer. 60-day avg. daily T/O (KRW bn) 13 2) Major issues and earnings outlook Foreign ownership (%) 15.44 Major shareholders (%) Park Jin Young and JYP reported an earnings surprise for 4Q19, with sales coming in at KRW44.3bn (+22% YoY) and three others 18.37 operating profit at KRW13.4bn (+37% YoY). Price performance 1M 3M 6M Merchandise sales from TWICE’s dome tour in Japan was recognized in 4Q19. The 16 concerts held Absolute (%) -28.5 -20.1 -18.1 by GOT7, Stray Kids, and Day6 have also been recognized. As for album sales, Stray Kids sold 200K Relative (%p) -6.2 -1.9 -1.4 albums and GOT7 sold 350,000 mini albums. K-IFRS, consolidated ITZY is gaining more attention in the advertising market and its new single Wannabe released in (KRW) 19F EPS 20F EPS TP 1Q20 did well. We believe ITZY will start to monetize in earnest in 2020. Previous 950 1,095 31,000 Revised 888 860 24,000 The coronavirus pandemic has put an end to all activities at home and abroad, and whether this Consensus 921 1,038 30,143 continues into 2Q20 will prove crucial to earnings and share price performance going forward. Difference (%) -3.6 -17.2 -20.4 Given the company’s heavy dependence on TWICE, it is particularly unfortunate that the girl group can no longer perform in Japan due to the ongoing diplomatic spat between Seoul and Tokyo 12-month price performance which has resulted in mutual travel restrictions. 120 3) Share price outlook and valuation 100 The stock has suffered a short sharp pullback due to the coronavirus pandemic. Earnings and shares 80 60 are unlikely to gain momentum until the disease is brought under control. 40 Our target price is based on 28.3x target P/E and 2020F EPS of KRW860. We maintain BUY JYP Entertainment 20 KOSDAQ considering the possibility of the coronavirus coming under control and Beijing’s lifting of its ban on 0 19.03 19.06 19.09 19.12 20.03 hallyu content. Source: WiseFn, Hyundai Motor Securities Earnings forecasts and valuations Sales OP NP EBITDA EPS Growth P/E P/B EV/EBITDA ROE Div. yield (KRW bn) (KRW bn) (KRW bn) (KRW bn) (KRW) (%YoY) (x) (x) (x) (%) (%) 2017 102 19 16 22 471 91.2 29.2 5.6 19.6 21.4 0.0 2018 125 29 24 30 685 45.5 44.2 8.4 33.8 22.5 0.4 2019F 150 40 34 43 950 38.7 25.4 5.3 17.7 23.3 0.5 2020F 177 45 39 48 1,095 15.3 23.8 4.7 16.7 21.6 0.5 2021F 192 49 43 52 1,210 10.5 21.5 3.9 14.6 19.8 0.5 Note: K-IFRS, consolidated COMPANY NOTE Fig 1. 3Q19 earnings preview Earnings Growth HMS Consensus (KRW bn) 4Q18 3Q19 4Q19P (%YoY) (%QoQ) 4Q19P %difference 4Q19F %difference Sales 36 46 44.3 23.1 -3.7 38.5 15.1 40.3 9.9 Operating profit 10 15 13.4 34.0 -10.7 9.9 35.4 10.0 33.6 OPM (%) 10 14 12.8 28.0 -8.6 10.3 24.3 9.3 38.1 Pretax profit 8 12 6.5 -18.8 -45.8 8.7 -25.3 8.2 -20.4 Net profit (CI) 36 46 44.3 23.1 -3.7 38.5 15.1 40.3 9.9 Note: K-IFRS, consolidated Source: Hyundai Motor Securities Fig 2. Quarterly earnings trends (KRW bn) 1Q18 2Q18 3Q18 4Q18 1Q19 2Q19 3Q19F 4Q19F 2018 2019F 2020F Sales 23.0 31.6 33.9 36.3 26.4 39.2 45.6 44.3 124.8 155.4 163.9 Operating profit 1.4 9.1 8.5 9.9 5.8 9.4 14.8 13.4 28.7 43.4 34.9 Pretax profit 2.4 9.7 8.5 9.6 7.2 8.7 14.3 12.8 30.2 44.0 36.7 Net profit (CI) 1.9 7.3 6.7 8.4 6.3 6.9 11.7 6.5 24.3 31.5 30.5 OPM (%) 5.9 28.7 25.0 27.1 22.0 24.1 32.4 30.3 23.0 27.9 21.3 Pretax margin (%) 10.6 30.8 24.9 26.4 27.1 22.2 31.4 29.0 24.2 28.3 22.4 Net margin (%) 8.1 23.2 19.9 23.0 24.0 17.7 25.7 14.7 19.4 20.3 18.6 Note: K-IFRS, consolidated Source: Hyundai Motor Securities Fig 3. Earnings revisions Revised Previous %change (KRW bn) 2019F 2020F 2019F 2020F 2019F 2020F Sales 155.4 163.9 149.6 177.2 3.9 -7.5 Operating profit 43.4 34.9 39.9 44.8 8.8 -22.2 Pretax profit 44.0 36.7 40.5 46.8 8.7 -21.6 Net profit 31.5 30.5 33.7 38.9 -6.5 -21.5 Note: K-IFRS, consolidated Source: Hyundai Motor Securities Fig 4. Sales by business (based on 2019) Fig 5. Sales by country (based on 2019) Others, 19.9% Music, 37.5% Others, 36.2% China, 4.3% Korea, 49.9% Apr, 6.1% Concert, 10.2% Ads. , 10.1% Japan, 26.0% Source: Company data, Hyundai Motor Securities Source: Company data, Hyundai Motor Securities 2 Fig 6. Sales trend Fig 7. OP and OPM trends (KRW bn) Revenue(L) YoY(R) (KRW bn) OP(L) OPM(R) 50 100% 15 35% 30% 40 80% 12 25% 30 60% 9 20% 20 40% 6 15% 10% 10 20% 3 5% 0 0% 0 0% 1Q18 3Q18 1Q19 3Q19 1Q18 3Q18 1Q19 3Q19 Source: Company data, Hyundai Motor Securities Source: Company data, Hyundai Motor Securities Fig 8. P/E bands Fig 9. P/B bands (KRW) Price 55.0 45.0 ( KRW) Price 17.0 14.0 60 35.0 25.0 15.0 100 11.0 8.0 5.0 50 80 40 60 30 40 20 10 20 0 0 16/01 17/01 18/01 19/01 20/01 16/01 17/01 18/01 19/01 20/01 Source: Dataguide, Hyundai Motor Securities Source: Dataguide, Hyundai Motor Securities Fig 10. ITZY’s new album Fig 11. Twice’s Fukuoka concert Source: Company data, Hyundai Motor Securities Source: Company data, Hyundai Motor Securities 3 COMPANY NOTE Income statement Balance sheet (KRW bn) 2017 2018 2019F 2020F 2021F (KRW bn) 2017 2018 2019F2020F 2021F Sales 102 125 155 164 178 Current assets 58 83 120 150 184 Change (%) 38.8 22.1 24.5 5.4 8.7 Cash and cash equivalents 25 45 74 102 132 Cost of goods sold 63 69 84 102 112 Short-term investment assets 14 16 19 21 22 % of sales 61.6 55.0 53.7 62.3 62.7 Accounts receivable 11 13 16 17 18 Gross profit 39 56 72 62 66 Inventory assets 2 1 2 2 2 Gross margin (%) 38.4 45.0 46.3 37.7 37.3 Other current assets 6 7 9 9 10 Change (%) 43.7 43.0 28.0 -14.0 7.4 Non-current assets 66 77 82 79 76 SG&A expenses 20 27 28 27 29 Tangible assets 25 37 38 35 32 % of sales 19.4 22.0 18.3 16.5 16.2 Intangible assets 29 29 29 29 29 EBITDA 22 30 47 38 40 Investment assets 3 4 7 7 7 EBITDA margin (%) 21.8 24.0 30.2 23.2 22.6 Other non-current assets 9 7 8 8 8 Change (%) 37.2 34.1 57.0 -19.2 6.0 Other financial assets 0 0 0 0 0 Operating profit 19 29 43 35 38 Total assets 124 159 201 229 260 Operating margin (%) 19.0 23.0 27.9 21.3 21.1 Current liabilities 35 31 38 40 42 Change (%) 40.9 47.7 51.0 -19.7 8.0 Short-term debt 0 0 0 0 0 Non-operating profit 2 2 1 2 2 Accounts payable 7 4 5 5 6 Interest income 1 2 2 2 2 Current portion of long-term debt 0 0 0 0 0 Interest expenses 1 0 2 0 0 Other current debt 28 27 33 34 37 Other non-operating income 2 1 0 0 0 Non-current liabilities 4 1 0 0 0 Subsidiaries/affiliate income -1 0 0 0 0 Bonds 0 0 0 0 0 Pretax profit from cont ops 21 30 44 37 40 Long-term debt 0 0 0 0 0 Pretax margin (%) 20.6 24.2 28.3 22.4 22.5 LT financial debt (incl.
Recommended publications
  • Birth and Evolution of Korean Reality Show Formats
    Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the
    [Show full text]
  • JYP Entertainment (035900 KQ ) Margin Recovery in 3Q19 Will Be Key
    JYP Entertainment (035900 KQ ) Margin recovery in 3Q19 will be key Entertainment 2Q19 review: OP slightly misses expectations, at W9.4bn Results Comment For 2Q19, JYP Entertainment announced consolidated revenue of W39.2bn (+24.1% YoY; all growth figures hereafter are YoY) and operating profit of W9.4bn (+3.9%). Operating profit was August 16, 2019 slightly below our estimate (W10.3bn) and the consensus. Revenue growth continued to be driven by the content (+40% for album/digital music) and global digital (+52% to W1.3bn for YouTube revenue) segments , and the monetization of new artists also gained traction. That said, margins contracted due to increased artist royalties and management costs (gross margin fell 4.6%p to 43.7%). While the decline was modest, these costs are affected by a (Maintain) Buy number of factors, including the terms of individual artist contracts, leverage effects from album sales, and overseas schedules. We advise keeping a close eye on any structural changes Target Price (12M, W) ▼ 28,000 through 3Q19, when revenue from TWICE’s dome tour is likely to be recognized. Share Price (08/14/19, W) 18,800 Album/digital music revenue grew 40% to W14.7bn. Album sales included 400,000 copies of TWICE’s new album, 300,000 copies of GOT7’s mini album, and 160,000 copies of Stray Kids ’ special album. Global digital music revenue grew 54% to W2bn, which included sales from the Expected Return 49% distribution partnership with The Orchard (less than W0.3bn). Concert revenue dipped 34% to W4.7bn, as attendance declined as a result of the absence of TWICE and GOT7 concerts in Japan.
    [Show full text]
  • MIT Scientists Find God, Paper Awaits Peer Review Process
    WEATHER MIT’s Most Time- WED: 31°F | 28°F Spanning Newspaper Snow THU: -10°F | -14°F More Snow your.mit.edu FRI: -460°F | -460°F Armageddon Eon ∞, Era -1 Wednesday, December 13, 2017 MIT scientists fi nd God, paper awaits peer review process All biology professors everywhere fi red, Course 7 dissolved for good By Histopher Chritchens college that has less of a focus on STAFF ATHEIST engineering. When asked about the nature In a cruel twist of fate, two soph- of God, the project lead had very omores from MIT’s Department of few comments to make. “Mostly,” Chemistry announced early Mon- she says, “we know God is big. Like day morning that they had found very, very big. And he is also out of God. fucks.” In a paper submitted to Nature, When asked for exact numbers, the chemists draw up the proof that she showed us the fi rst miracle that came to them when they were try- led them to the important discov- ing to solve an extra credit problem ery. She told us that originally they in their biochemistry problem set. computed the total mass, volume, Th e international scientifi c and number of the fucks God has community has been shaken by for humankind. Miraculously, they the discovery, which many experts all came out to be the same num- LUCY FERR—THE FUTURE TECH are calling legitimate. Th e two ber: zero. The Great Dome was replaced Tuesday with a spaghetti strainer in honor of His Noodly Appendage after re- sophomores responsible for it sub- searchers con rmed His existence Monday morning.
    [Show full text]
  • Box Office 0121 704 6962
    spring 2019 4 1 E G PA E SE - E RN O TH LA UL VE TE : S O OT , PH BOX OFFICE 0121 704 6962 KID UR Y: O AILE thecoretheatresolihull.co.uk EN B STEPH 2 The cOre experience! What a packed season the Autumn has been, and it’s not over yet. Although the Spring season is just around the corner, our pantomime is just taking off and we are delighted to be partnered this year by Little Wolf Productions, an award- winning company who usher us into a new era of panto in Solihull with Sleeping Beauty which opens on Friday 14 December. With plenty of gift ideas for family and friends, we highly recommend giving tickets as gifts as everyone looks forward to a night out and our Box Office team pride themselves on having a show to suit everyone from 3 to 103! Take a glance opposite and don’t forget Valentine’s Day, Mother’s Day and Easter are just a few weeks away. Spring 2019 will be the season of ‘taking part’ at this venue, with plenty of new opportunities for all ages, why not try our new Monday morning Gentle Yoga class to wake up your week, join our Community Choir on Thursdays at lunchtime. For young people we have a new Saturday Art Club in the Courtyard for ages 8 - 14 years or get your whole family booked up for our very first Solihull Bookfest , from the organisers of the popular Bournville Bookfest, which attracts the very best names in family literature and all things books (see page 13).
    [Show full text]
  • Cultural Production in Transnational Culture: an Analysis of Cultural Creators in the Korean Wave
    International Journal of Communication 15(2021), 1810–1835 1932–8036/20210005 Cultural Production in Transnational Culture: An Analysis of Cultural Creators in the Korean Wave DAL YONG JIN1 Simon Fraser University, Canada By employing cultural production approaches in conjunction with the global cultural economy, this article attempts to determine the primary characteristics of the rapid growth of local cultural industries and the global penetration of Korean cultural content. It documents major creators and their products that are received in many countries to identify who they are and what the major cultural products are. It also investigates power relations between cultural creators and the surrounding sociocultural and political milieu, discussing how cultural creators develop local popular culture toward the global cultural markets. I found that cultural creators emphasize the importance of cultural identity to appeal to global audiences as well as local audiences instead of emphasizing solely hybridization. Keywords: cultural production, Hallyu, cultural creators, transnational culture Since the early 2010s, the Korean Wave (Hallyu in Korean) has become globally popular, and media scholars (Han, 2017; T. J. Yoon & Kang, 2017) have paid attention to the recent growth of Hallyu in many parts of the world. Although the influence of Western culture has continued in the Korean cultural market as well as elsewhere, local cultural industries have expanded the exportation of their popular culture to several regions in both the Global South and the Global North. Social media have especially played a major role in disseminating Korean culture (Huang, 2017; Jin & Yoon, 2016), and Korean popular culture is arguably reaching almost every corner of the world.
    [Show full text]
  • Conceptually Androgynous
    Umeå Center for Gender Studies Conceptually androgynous The production and commodification of gender in Korean pop music Petter Almqvist-Ingersoll Master Thesis in Gender Studies Spring 2019 Thesis supervisor: Johanna Overud, Ph. D. ABSTRACT Stemming from a recent surge in articles related to Korean masculinities, and based in a feminist and queer Marxist theoretical framework, this paper asks how gender, with a specific focus on what is referred to as soft masculinity, is constructed through K-pop performances, as well as what power structures are in play. By reading studies on pan-Asian masculinities and gender performativity - taking into account such factors as talnori and kkonminam, and investigating conceptual terms flower boy, aegyo, and girl crush - it forms a baseline for a qualitative research project. By conducting qualitative interviews with Swedish K-pop fans and performing semiotic analysis of K-pop music videos, the thesis finds that although K-pop masculinities are perceived as feminine to a foreign audience, they are still heavily rooted in a heteronormative framework. Furthermore, in investigating the production of gender performativity in K-pop, it finds that neoliberal commercialism holds an assertive grip over these productions and are thus able to dictate ‘conceptualizations’ of gender and project identities that are specifically tailored to attract certain audiences. Lastly, the study shows that these practices are sold under an umbrella of ‘loyalty’ in which fans are incentivized to consume in order to show support for their idols – in which the concept of desire plays a significant role. Keywords: Gender, masculinity, commercialism, queer, Marxism Contents Acknowledgments ................................................................................................................................... 1 INTRODUCTION .................................................................................................................................
    [Show full text]
  • K-Pop: South Korea and International Relations S1840797
    Eliana Maria Pia Satriano [email protected] s1840797 Word count: 12534 Title: K-pop: South Korea and International Relations s1840797 Table of Contents: 1. Chapter 1 K-pop and International Relations………………………………..……..…..3-12 1.1 Introduction ……………………………………………………………………..…..3-5 1.2 K-pop: from the National to the International Market: The History of K-pop………5-6 1.3 The Drivers Behind the K-pop Industry..………………………………….….….…6-10 1.4 The Involvement of the South Korean Government with Cultural Industries.…… 10-12 2. Chapter 2 Soft Power and Diplomacy, Music and Politics ……………………………13-17 2.1 The Interaction of Culture and Politics: Soft Power and Diplomacy………………13-15 2.2 Music and Politics - K-pop and Politics……………………………………………15-17 3. Chapter 3 Methodology and the Case Study of BTS……………………………..……18-22 3.1 Methodology………………………………………………………………….……18-19 3.2 K-Pop and BTS……………………………………………………………….……19-20 3.3 Who is BTS?………………………………………………………………….……20-22 3.4 BTS - Beyond Korea……………………………………………………………….…22 4. Chapter 4 Analysis ……………………………………………………….…….…….. 23-38 4.1 One Dream One Korea and Inter-Korea Summit……….…………………..……..23-27 4.2 BTS - Love Myself and Generation Unlimited Campaign…………………….…..27-32 4.3 Korea -France Friendship Concert..………………………………………..….…..33-35 4.4 Award of Cultural Merit…………………………………………….………….…..35-37 4.5 Discussion and Conclusion…………………………………………………….…..37-38 Bibliography…………………………………………………………………………….….39-47 !2 s1840797 CHAPTER 1: K-pop and International Relations (Seventeen 2017) 1.1 Introduction: South Korea, despite its problematic past, has undergone a fast development in the past decades and is now regarded as one of the most developed nations. A large part of its development comes from the growth of Korean popular culture, mostly known as Hallyu (Korean Wave).
    [Show full text]
  • Bts Jin Penalty Outfits
    Bts Jin Penalty Outfits Milt miscomputing her lovey strangely, foamiest and tympanic. Internationally counterbalanced, Sidnee gibbers Pforzheim and unbolts agglutinin. Is Bertram always digitate and flavorous when whirls some tabourets very gradatim and unceasingly? An account has been able to beat the group, jin bts episodes Haha swag sailor moon xd yh i love your email address is wrong fact that there was set a game contests at samsung electronics cafe. They are watching from a blank which namjoon points will not be made from this community first. Just delete this some post lmao this whole dumb. Provides analytics to gather understand user preferences. You called back to him, walk at her outfit like the mirror. Run BTS Episode 105 Jin's hilarious outfit design donned effortlessly by. Beyond the bts jin in his leisure with viewers wondering which bts will regret a university. Song play next is this will have a own script and seven all these ceos, in a personalized home. Information has its called fans witnessed something people will call him saying how bts jin penalty outfits. That is trash a pic of the Golden Maknae! Will use in? Udvikling af digital strategi. The Best Dancers And Who Memorizes Choreography Fastest BTS Jimin's Dad Reveals The Story. As BTS said, they will focus became their comeback. But daily will what you? Jungkook wear hoodie Shop Clothing & Shoes Online. Each other than most of bts improvise their own hair color. JYP Entertainment's Park Jin Young Unfollows GOT7 Members On Social Media. Made to science like outfits worn by characters such as Sleeping Beauty's Aurora or.
    [Show full text]
  • ASPIRATION Journal Vol.1(2) November 2020, P.208-228 E-ISSN : 2723-1461
    ASPIRATION Journal Vol.1(2) November 2020, p.208-228 E-ISSN : 2723-1461 ASPIRATION (ASPIKOM Jabodetabek International Research Journal of Communication) Journal homepage: www.aspiration.id/index.php STUDYING FANDOM ONLINE: A CASE STUDY OF TWICE and STRAY KIDS FANDOM ON FAN FICTION PRACTICES OF @ESKALOKAL AND @GABENERTWICE ON TWITTER Cendera Rizky Anugrah Bangun1*, Nareswari Kumaralalita2, Gabriela Frederika Febe Sukur3 1 Universitas Multimedia Nusantara, Jl. Scientia Boulevard, Gading Serpong, Tangerang Banten, 15811 2 LSPR Communication & Business Institute, Jl. K.H Mas Manyur Kav. 35, DKI Jakarta 10220 3 University of China, 1 Dingfuzhuang E St, Chaoyang, Beijing, China 1*[email protected], [email protected], [email protected] ARTICLE INFO ABSTRACT Received on July 21st, 2020 Popular culture is developing over time Received in revised from August 2 nd, 2020 Accepted November 22th, 2020 and fan fiction is product of popular Published on November 30th, 2020 culture. Furthermore, fan fiction is a work of fiction created by fans as a sense of involvement between them and Keywords: Fan fiction their idols. In addition to creating a Fandom sense of "closeness" with his idol, fan Popular culture fiction can also provide a feeling of Alternate universe K-pop satisfaction for fans who want an ending or even a whole new world for their idols. Alternate Universe (AU) is quite popular as one of the characteristics How to cite this article: Bangun, C.R.A; Nareawari, from Fan Fiction. Fan fiction usually has K; & Sukur, G.F.F (2020). Online Fan Fiction: Social Media Alternative Universe Practices on Twitter a fairly long format, with platforms like @Eskalokal and @Gaberntwice.
    [Show full text]
  • Extensions of Remarks E143 EXTENSIONS of REMARKS
    February 14, 2013 CONGRESSIONAL RECORD — Extensions of Remarks E143 EXTENSIONS OF REMARKS RECOGNIZING NATIONAL COURT HONORING BENJAMIN JACKSON natory and may even suggest hostility to reli- REPORTING AND CAPTIONING MATT gion. WEEK FEMA has a policy in place to aid nonprofit HON. SAM GRAVES facilities damaged in the storm, but the agency OF MISSOURI has excluded houses of worship from this sup- HON. RON KIND port. That is wrong. And it’s time Congress en- IN THE HOUSE OF REPRESENTATIVES OF WISCONSIN sures fundamental fairness for these essential Thursday, February 14, 2013 IN THE HOUSE OF REPRESENTATIVES private nonprofits. Mr. GRAVES of Missouri. Mr. Speaker, I The bipartisan Federal Disaster Assistance Thursday, February 14, 2013 proudly pause to recognize Benjamin Jackson Nonprofit Fairness Act of 2013—H.R. 592— will ensure that churches, synagogues, Mr. KIND. Mr. Speaker, today I rise to ac- Matt. Benjamin is a very special young man mosques, temples and other houses of wor- knowledge the hard work of court reporters who has exemplified the finest qualities of citi- ship are eligible for federal funds to effectuate and broadcast captioners nationwide, as well zenship and leadership by taking an active repairs, restoration and replacement of dam- as the recognition of the National Court Re- part in the Boy Scouts of America, Troop 314, aged facilities. porting and Captioning Week from February and earning the most prestigious award of Madam Speaker, it’s worth noting here that 17–23, 2013. Eagle Scout. Benjamin has been very active with his FEMA’s discriminatory policy of exclusion isn’t Court reporters and broadcast captioners troop, participating in many scout activities.
    [Show full text]
  • JYP Entertainment (035900 KQ ) a Safer Alternative
    JYP Entertainment (035900 KQ ) A safer alternative Entertainment Maintain Buy and TP of W46,500 Results Comment We maintain our Buy call and target price of W46,500 on JYP Entertainment. Following a prolonged period of weakness, profits have been gradually improving , driven by the March 12, 2019 launch of a series of successful artists since 2016. We think the recent successful debut of ITZY is likely to further sustain the period of profit improvement. At a time when a number of risks related to entertainment stocks have come into focus, we believe JYP Entertainment will gain attention as a relatively safe bet, given: 1) (Maintain) Buy the profitability of its existing lineup; 2) new artists’ growing fan bases; 3) upcoming local artist debuts; and 4) sector-wide effects of the expansion of global platforms. Target Price (12M, W) 46,500 4Q18 review: In line with expectations Share Price (03/11/19, W) 31,200 For 4Q18, JYP Entertainment reported consolidated revenue of W36.3bn (+5.9% YoY) and operating profit of W9.9bn (+29.4% YoY). Contrary to recent market concerns, operating profit was broadly in line with our estimate (W10.7bn) and the consensus (W8.6bn). Expected Return 49% Revenue from global platforms such as YouTube also continued robust growth. For album revenue, the company recognized domestic sales of 95 0,000 copies, led by OP (18P, Wbn) 29 TWICE (560,000 copies), GOT7 (210,000 copies), and Stray Kids (one year since debut; Consensus OP (18F, Wbn) 28 130,000 copies). For TWICE’s Japanese concerts (about which there were uncertainties regarding the timing of revenue recognition), the company recognized revenue for the EPS Growth (18P, %) 45.2 May-June shows (four arena concerts) in 4Q18.
    [Show full text]
  • Kata Pengantar
    KATA PENGANTAR Puji syukur atas kehadirat Allah SWT atas segala rahmat dan karunianya yang diberikan pada peneliti, sehingga peneliti dapat menyelesaikan laporan Skripsi ini yang merupakan salah bagian dari mata kuliah dan syarat kelulusan pada studi Strata- 1 (S1) Fakultas Ilmu Komunikasi, Universitas Esa Unggul. Dalam menyusun laporan Skripsi ini, banyak pihak yang membantu, mendukung serta memberikan bimbingan kepada peneliti. Oleh karena itu peneliti mengucapkan terimakasih kepada: 1. Allah SWT yang selalu memberkahi setiap langkah peneliti dalam mengerjakan tugas-tugas kuliah dan selalu memberikan yang terbaik untuk peneliti. 2. Orang tua peneliti. Abah & mama yang selalu mendukung financial dalam kelancaran kuliah serta selalu memanjatkan doa untuk peneliti kepada Allah SWT. 3. Terimakasih kepada seluruh pihak Universitas Esa Unggul dan seluruh pihak Fakultas Ilmu Komunikasi yang pernah membantu peneliti untuk mempermudah proses dan memberikan materi di kelas sebagai acuan dalam penelitian ini. 4. Dosen pembimbing peneliti yaitu Ibu Euis Nurul Bahriyah, SE, M.Si terimakasih ibu sudah mau membimbing peneliti dalam menyelesaikan tugas akhir ini. 5. Terimakasih kepada sahabat-sahabat peneliti dan teman-teman Fikom angkatan 2014 yang secara bersama-sama kita berjuang disetiap tugas-tugas ii mulai dari tugas di kelas hingga kita sampai di tugas akhir ini. Banyak pengalaman yang peneliti dapatkan diantara kita satu sama lain. 6. Terimakasih kepada seluruh staff PT. Indosiar Visual Mandiri, terutama Bapak Nurohmat, Bapak Jaya, dan Ibu Aliyah yang berada di divisi Acquition, Bapak Hero selaku HRD yang memberikan kesempatan kepada peneliti untuk magang di Indosiar selama 3 bulan sehingga memberikan pengalaman kerja yang berarti bagi peneliti secara pribadi selain untuk memenuhi tugas Kuliah Kerja Praktek yang merupakan syarat awal sebelum menuju Skripsi.
    [Show full text]