WPP Annual Report 2004
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Managing In-House Agency Creative Content and Legal Concerns
MANAGING IN-HOUSE AGENCY CREATIVE CONTENT AND LEGAL CONCERNS J U LY 2 019 TABLE OF CONTENTS BACKGROUND AND METHODOLOGY ........................................... 3 KEY FINDINGS ............................................................................. 4 1. CREATIVE CONTENT CONCERNS ........................................ 4 2. LEGAL CONCERNS .............................................................10 CONCLUSIONS .......................................................................... 13 ABOUT THE STUDY PARTNERS ..................................................14 2 | Managing In-House Agency Creative Content and Legal Concerns BACKGROUND AND METHODOLOGY The 2018 ANA report, “The Continued Rise of the In-House Agency,” found that in-house agency penetration is rising and workloads are increasing. • 78 percent of ANA members have an in-house agency in 2018, versus 58 percent in 2013 and 42 percent in 2008. • For 90 percent of respondents, the workload of their in-house agency has increased in the past year, including 65 percent for whom the workload has increased “a lot.” As advertisers continue to expand bringing advertising services in-house, it is important for them to understand and deploy best-in-class practices to manage in-house agency creative content and legal concerns. The ANA partnered with the Boston Consulting Group and Reed Smith on this initiative. The findings are informed by qualitative interviews with ANA members and industry experts (conducted in first quarter 2019) and a quantitative survey of ANA members (fielded in March 2019). There were 111 survey respondents, and their demographics consist of companies with in-house agencies of various sizes and budgets: • Staff Size: 40 percent of survey respondents have staffs of 25 people or less, 36 percent between 26 and 100 people, and 24 percent greater than 100 people. • In-House Agency Budget: 50 percent of survey respondents work at organizations which had an 2018 annual U.S. -
Albion Arts Corridor, Cultural Economic Development Strategy
Albion Arts Corridor Cultural Economic Development Strategy Prepared for the Town of Wakefield Prepared by the Metropolitan Area Planning Council June 2017 Acknowledgements The Albion Arts Corridor Economic Development Strategy was made possible through a District Local Technical Assistance grant, a Planning for MetroFuture Technical Assistance grant, and arts and cultural planning resources from the Barr Foundation. MAPC Staff worked with the Town Administrator, Town Planner, and the Albion Cultural Exchange Committee to provide professional planning and technical assistance. This project was made possible through the enthusiastic participation of a number of individuals in Wakefield who were either interviewed, participated in a focus group, filled out the online survey, or gave us feedback and insight through their participation at the October First Thursday, November Community Forum, or December Holiday Stroll. A special thanks to the Albion Cultural Exchange Committee, whose members served as an Advisory Committee to this project. In addition to providing feedback and insight throughout the project process, the committee also helped to facilitate a number of outreach activities, provided invaluable local knowledge and insight, and were critical to making this project a success. Town of Wakefield Board of Selectmen Paul R. DiNocco, Chairman Peter J. May, Vice-Chairman Mehreen N. Butt Edward F. Dombroski, Jr. Brian Falvey Anthony Longo Ann Santos Albion Cultural Exchange Committee Christopher J. Carino, Chairman Kathy Frey, Secretary Joy Schilling Mike Salvatore Adam Pinkney Doug Henning Tasha Schlake Festel Town of Wakefield Town Administrator Stephen P. Maio Town of Wakefield Town Planner Paul Reavis 1 Preface The Town of Wakefield received a technical assistance grant from the Metropolitan Area Planning Council to work on a cultural economic development strategy for Downtown Wakefield with a particular focus on Albion Street. -
The Creative Sector in Georgia: Situation, Potential and Policy Issues
German Economic Team Georgia in cooperation with ISET Policy Institute Policy Paper Series [PP/02/2017] The creative sector in Georgia: Situation, potential and policy issues David Saha, André Störr Berlin/Tbilisi, June 2017 About the German Economic Team Georgia The German Economic Team Georgia (GET Georgia) advises the Georgian government and other Georgian state authorities such as the National Bank on a wide range of economic policy issues. Our analytical work is presented and discussed during regular meetings with high-level decision makers. GET Georgia is financed by the German Federal Ministry for Economic Affairs and Energy. Our publications are publicly available at our website (www.get-georgia.de). German Economic Team Georgia c/o Berlin Economics Schillerstraße 59 D-10627 Berlin Tel: +49 30 / 20 61 34 64 0 Fax: +49 30 / 20 61 34 64 9 E-Mail: [email protected] www.get-georgia.de © 2017 German Economic Team Georgia All rights reserved. ii The creative sector in Georgia: Situation, potential and policy issues Executive Summary Georgia has a rich cultural tradition as well as an affinity for unique designs. Can this creativity be an economic asset? This can in principle be assessed by using the standard “creative industries” approach, which measures several industries in the creative sector. Due to data limitations, we develop and use a slightly simplified method based on the international approach for Georgia. At present, the measurable creative industries – 7 out of 11 industries – together make up 1.5% of gross value added (GVA) of the Georgian economy and 1.1% of employment. -
Thought Leader Interview: Sir Martin Sorrell
strategy+business ISSUE 84 AUTUMN 2016 Thought Leader Interview: Sir Martin Sorrell WPP’s CEO explains how the global agency is deploying its resources to connect effectively with clients and consumers across industry and geographic borders. BY DEBORAH BOTHUN AND DANIEL GROSS REPRINT 16315 THOUGHT LEADER Thought Leader Interview: Sir Martin Sorrell WPP’s CEO explains how the global agency is deploying its resources to connect effectively with clients and consumers across industry and geographic borders. BY DEBORAH BOTHUN AND DANIEL GROSS (US$67.5 billion) and revenue of £12.2 billion ($17.4 billion). The company employs 190,000 people spread across 3,000 offices in 112 countries. As was said of the old British Empire, the sun never sets on WPP. Its operations touch every part of the global media industry, and, increasingly, other industries as well: technology, software, retail. And, unlike many others in the media business, WPP has managed to post steady growth in profits. Its earnings per share were up more than 10 percent in 2015. The consistent growth and so- lidity of this company belie the churning waters in which it operates. The term disruption has been so ir Martin Sorrell is one of MediaCom, Mindshare, and MEC; overused as to have almost become a thought leader the most enduring leaders its data management arm Kantar cliché. But it is difficult to think of S in an industry that is (which includes Millward Brown industries that are being disrupted famously transitory and focused and TNS); digital firms Wunder- more than advertising, marketing, on the shrinking human attention man, VML, Possible, and AKQA; branding, and communications, the span: advertising and public relations titans sandboxes in which WPP plays. -
Download the S⁴capital Plc Annual Report and Accounts 2020.PDF
S 4 Capital plc Annual Report and Accounts 2020 Seize the wth decade S4Capital plc Annual Report and Accounts 2020 Our mission To create a new age/new era digital marketing solution, which disrupts analogue models, by embracing data, content and digital media in an always-on environment for global, multinational, regional and local clients and for millennial-driven brands. Contents 1 2 Strategic Report Industry outlook 7 Letter to shareowners 39 Resilience, recovery, acceleration 14 ESG: sustainability and by Sir Martin Sorrell corporate responsibility 26 Section 172(i) statement 31 Principal risks and uncertainties 3 4 Life in the Governance and new decade financial statements 46 Twenty on the 20s 51 Governance Report 51 Leadership 51 Board of Directors 56 Executive Chairman’s governance statement 58 The role of the Board 62 Report of the Audit and Risk Committee 64 Report of the Nomination and Remuneration Committee 70 Remuneration Report 87 Directors’ report 93 Financial statements 149 Shareowner information www.s4capital.com/annualreport20 S4Capital Annual Report and Accounts 2020 1 Financial highlights Billings1 Pro-forma2 billings £653.4m £768.4m +43.4% +22.3% Like-for-like3 19.6% Revenue Pro-forma revenue £342.7m £421.1m +59.3% +20.1% Like-for-like 15.2% Gross profit Pro-forma gross profit £295.2m £369.0m +72.3% +23.7% Like-for-like +19.4% Operational EBITDA4 Pro-forma operational EBITDA £62.2m £85.1m +86.1% +30.6% Like-for-like +18.3% Operational EBITDA margin5 Pro-forma operational EBITDA margin +21.1% 23.1% +1.6 margin points -
Part 3 Seven Big Winner Sectors – Creative Industries
Joint Foreign Chambers Advocacy Paper ARANGKADA PHILIPPINES 2010: A BUSINESS PERSPECTIVE Creative Industries Sector Background and Potential The Creative Economy is defined as industries which have their origin in individual creativity, skill, and talent and which have potential for wealth and job creation through the generation and exploitation of intellectual property. In the Philippines creative industries include a wide array of subsectors including advertising, animation, architecture, broadcast arts, crafts, culinary arts, cultural/heritage activities, design, film, literature, music, new media, performing arts, publishing, and visual arts (see Table 25). Filipinos enjoy a well-deserved international reputation for creativity. Filipino musicians and singers have long been global troubadours and in recent years are entertaining luxury cruise passengers and appearing on stage in West End and Broadway musicals. Filipino designers and crafts persons have helped the country to be known as the “Milan of Asia” in designer circles. However, the once vibrant Philippine film industry has lost market share to Hollywood imports, while its products have failed to gain the international following enjoyed by East and South Asian cinematographers. With such a rich and varied base of creative talent, the Philippines should develop the full potential of its creative industries, enhancing its competitive advantage and improving its reputation and becoming better recognized. Unfortunately, there is a lack of understanding and appreciation of these creative industries as a whole. This is partly because the creative cluster cuts across multiple economic sectors and does not yet constitute a cohesive or distinct sector in the traditional sense of an industry cluster. In order to nurture the creative industries, it is vital to recognize and improve its entire landscape. -
NOTICE of MEETING 32ND District Agricultural Association OCFEC Board of Directors Thursday, April 26, 2018 9:00 A.M
The mission of OCFEC is… CELEBRATION OF ORANGE COUNTY’S COMMUNITIES, INTERESTS, AGRICULTURE AND HERITAGE (with results justifying resources expended) NOTICE OF MEETING 32ND District Agricultural Association OCFEC Board of Directors Thursday, April 26, 2018 9:00 a.m. Administration Building OC Fair & Event Center 88 Fair Drive Costa Mesa, California Board of Directors Barbara Bagneris, Board Chair Robert Ruiz, Vice Chair Nick Berardino, Member Stan Tkaczyk, Member Gerardo Mouet, Member Douglas La Belle, Member Ashleigh Aitken, Member Sandra Cervantes, Member Newton Pham, Member Secretary-Treasurer 32nd DAA Counsel Kathy Kramer CFE, CFEE, CMP Josh Caplan Chief Executive Officer, OCFEC Office of the California Attorney General Those persons wishing to attend the meeting and who may require special accommodations pursuant to the provisions of the Americans with Disabilities Act are requested to contact the office of the 32nd District Agricultural Association (714) 708-1500, at least five working days prior to the meeting to insure the proper arrangements can be made. At the discretion of the Board of Directors, all items appearing on this Agenda, whether or not expressly listed for action, may be deliberated and may be subject to action by the Board of Directors. The Board may convene to closed session pursuant to Government Code section 11126, subdivisions (a) and (e) to consider personnel evaluation and/or possible litigation. Items may not necessarily be taken up in the order shown on this Agenda. This agenda, and all notices required by the Bagley-Keene Open Meeting Act are available on the Internet at: www.ocfair.com OC FAIR & EVENT CENTER, 32ND DAA BOARD OF DIRECTORS MEETING APRIL26, 2018, PAGE 2 OF 5 AGENDA 1. -
Designing Brand Identity
Designing Brand Identity Cover design: Jon Bjornson This book is printed on acid-free paper. Copyright © 2013 by Alina Wheeler. Published by John Wiley & Sons, Inc., Hoboken, New Jersey. Published simultaneously in Canada. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400, fax 978-646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, 201-748-6011, fax 201-748-6008, or online at http://www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with the respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor the author shall be liable for damages arising herefrom. -
WPP Annual Report and Accounts 2014
What we think In praise of the long view WPP CEO Sir Martin Sorrell reports hirty years ago WPP began its transformation from a maker of shopping baskets and teapots into the world leader in advertising and marketing services. The traditional gift for a 30th anniversary is a pearl – an object Twith particular significance for our Group. In 1996, I gave the D&AD (Design and Art Direction) President’s Lecture in London. D&AD is the association and charity that promotes excellence in commercial creativity, and a yellow, white or black pencil at its annual awards is one of the highest honours our industry can bestow. In that speech I said: “What we sell are pearls (of wisdom, of beauty, of desire, of wonder). Whether we are designers or planners or writers or art directors or corporate strategists, our raw material is knowledge. We turn that knowledge into ideas, insights, and objects that have a material, quantifiable value to our clients.” WPP ANNUAL REPORT 2014 87 What we think In praise of the long view he pearls we produce have created rather a lot Cash as % of total assets of quantifiable value for our share owners, too. S&P 500 non-financial companies And the longer you’ve been a share owner, the Post Cash recession draw-down greater that value is likely to be. build-up Warren Buffett famously warned Berkshire 12 Hathaway shareholders of the dangers of 11 10 short-term thinking. “If you aren’t willing to own a 9 stock for 10 years,” he said, “don’t even think about owning T 8 it for 10 minutes.” 7 Sadly, champions of the long view are becoming 6 harder to find – in the investment community and 5 4 in the boardroom. -
Creative Capital Gains an Action Plan for Toronto
Creative Capital Gains An Action Plan for Toronto Report prepared for City of Toronto Economic Development Committee and Toronto City Council | May 2011 MESSAGE FROM COUNCILLOR THOMPSON As Chair of the City of Toronto’s Economic Development Committee, I invited Robert Foster, Karen Kain and Jim Prentice to assemble and co-chair an advisory council tasked with updating the City’s Culture Plan. I asked the members of the Creative Capital Advisory Council to work with City staff, and to consult Toronto’s arts and business communities to determine the best way forward as we confront our present and future economic challenges. Councillor Michael Thompson Toronto is an undisputed Canadian creative capital, home to more artists and cultural workers than anywhere else in Canada. These workers drive growth, create wealth, and make Toronto a desirable place to live and invest. The City’s investments in cultural enterprises leverage additional capital from the private sector and other levels of government. Culture is an economic catalyst we can and must maximize for the benefit of all our communities. I am pleased to table this report on behalf of Toronto’s Creative Capital Advisory Council. We believe that the recommendations and action plan it contains can help strengthen Toronto’s economy and enhance our competitive advantage on the world stage. Councillor Michael Thompson Chair, Economic Development Committee Councillor, Scarborough Centre Ward 37 On the cover: Breaking at Manifesto Festival of Community & Culture 2010; Photo courtesy Manifesto Documentation Team Creative Capital Gains An Action Plan for Toronto TABLE OF CONTENTS Letter From the Co-Chairs . -
Chapter 5 Enhancing the Competitiveness of the Creative
Chapter 5 Enhancing the Competitiveness of the Creative Services Sector in Indonesia Togar M. Simatupang School and Management, Bandung Institute of Technology Sonny Rustiadi School and Management, Bandung Institute of Technology Dohar Bob M. Situmorang School and Management, Bandung Institute of Technology March 2012 This chapter should be cited as Simatupang, T. M., S. Rustiadi and D. B. M. Situmorang (2012), ‘Enhancing the Competitiveness of the Creative Services Sectors in Indonesia’ in Tullao, T. S. and H. H. Lim (eds.), Developing ASEAN Economic Community (AEC) into A Global Services Hub, ERIA Research Project Report 2011-1, Jakarta: ERIA, pp.173-270. CHAPTER 5 Enhancing the Competitiveness of the Creative Services Sectors in Indonesia TOGAR M. SIMATUPANG School of Business and Management, Bandung Institute of Technology, Indonesia SONNY RUSTIADI School of Business and Management, Bandung Institute of Technology, Indonesia DOHAR BOB M. SITUMORANG School of Business and Management, Bandung Institute of Technology, Indonesia 1. Introduction 1.1. Global Interest on Creative Industry In the world of interdependence of the 21st century, we face complex challenges, polarization, and inequality within and between countries. This situation requires strategy development to uncover the creative potential in order to meet the challenges— cultural, economic, social, and technological aspect—that we are facing nowadays. The concept of creative and cultural economy grows and thrives as a liaison among the culture, economy, and technology. The global development currently dominated by images, sounds, symbols, and ideas that create new jobs, prosperity, and cultures. Nobody disagrees that an innovative and creative idea is constantly changing as people always create and exchange goods, services, and cultures. -
Annual Report & Accounts 2019
ANNUAL REPORT & ACCOUNTS 2019 WHO WE ARE WPP IS A CREATIVE TRANSFORMATION COMPANY. WE USE THE POWER OF CREATIVITY TO BUILD BETTER FUTURES FOR OUR PEOPLE, CLIENTS AND COMMUNITIES. STRATEGIC REPORT Covid-19 2 Chief Executive’s statement 3 At a glance 8 Our business model 9 Investment case 10 Where we are 12 The market 14 Our strategy 16 Delivering on our strategy 18 Jeremy Bullmore’s essay 48 Remembering two industry greats 50 Financial review 52 Sustainability 58 Assessing and managing our risks 80 CORPORATE GOVERNANCE Chairman’s letter 94 Our Board 96 Our Executive Committee 98 Corporate governance report 100 Sustainability Committee report 107 Nomination and Governance Committee report 108 Audit Committee report 109 Compliance with the Code 112 Compensation Committee report 114 FINANCIAL STATEMENTS Accounting policies 140 Consolidated financial statements 147 Notes to the consolidated financial statements 152 Company financial statements 182 Notes to the Company financial statements 185 Independent auditor’s report 187 ADDITIONAL INFORMATION Taskforce on Climate-related Financial Disclosures 196 Other statutory information 198 Five-year summary 201 Information for shareholders 202 To learn more see Financial glossary 204 wpp.com Where to find us 206 WPP ANNUAL REPORT 2019 1 STRATEGIC REPORT COVID-19 The coronavirus pandemic has touched all our lives. At WPP our first priority is the wellbeing of our people and doing what we can to limit the impact of the virus on society. Our second is continuity of service for our clients. We have thrown ourselves into achieving both objectives. To ensure the safety of employees and We have also modelled a range of revenue When we come through the current to help reduce transmission, we moved declines resulting from the pandemic and, situation, the world will have been changed to a global policy of managed remote in the most extreme scenarios tested, in ways that we cannot fully anticipate yet.