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SiriusXM Reports Fourth Quarter and Full-Year 2017 Results

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SiriusXM today announced fourth quarter and full-year 2017 operating and financial results, including record revenue of $1.4 billion and $5.4 billion, respectively, each increasing 8% versus the prior year periods.

The Company’s net (loss) income totaled $(37) million and $648 million in the fourth quarter and full-year 2017, respectively, compared to $205 million and $746 million in the fourth quarter and full-year 2016, respectively. Net (loss) income per diluted common share was $(0.01) and $0.14 in the fourth quarter and full-year 2017, respectively, compared to $0.04 and $0.15 in the fourth quarter and full-year 2016, respectively. The fourth quarter and full-year 2017 net income results reflect a $185 million, or $0.04 per diluted share, charge associated with the revaluation of the Company’s deferred tax assets as a result of the Tax Cuts and Jobs Act. In the fourth quarter 2017, the Company also recorded a decrease of approximately $72 million, or approximately $0.02 per diluted share, in the fair value of its investment in Pandora, reversing the prior quarter’s unrealized gains.

Adjusted EBITDA grew 14% and 13% in the fourth quarter and full-year 2017, respectively, to a record $542 million and $2.12 billion. Free cash flow and operating cash flow in the fourth quarter 2017 increased 7% and 8%, respectively, to $460 million and $542 million. Full-year 2017 free cash flow and operating cash flow grew 3% and 8%, respectively, to $1.56 billion and $1.86 billion.

“The fourth quarter capped a strong year for SiriusXM and was our best quarter for self-pay subscriber growth in five years. We exceeded all of our 2017 subscriber and financial guidance, even after increasing these targets during the year. I am particularly pleased that we achieved this growth in an environment of slowing auto sales. Earlier this month, we outlined our goals to grow subscribers, revenue and adjusted EBITDA in 2018, and at the Detroit Auto Show, we unveiled with Fiat Chrysler the new Ram 1500, which will soon be available to consumers with our new 360L interface,” commented Jim Meyer, Chief Executive Officer, SiriusXM.

“SiriusXM didn’t let up in the fourth quarter in finding and delivering outstanding new programming for our national audience. We see this as a true competitive advantage and simply part of our DNA. From the launch of new college sports channels from major conferences, to a new comedy channel with Kevin Hart and a new show with Ricky Gervais, to our newly launched 24/7 channel with Barstool Sports, to breaking new artists across multiple genres, and to exclusive concerts with icons such as the Eagles and Duran Duran in special venues, we never stop delivering the best radio for our subscribers,” added Meyer.

FULL-YEAR 2017 HIGHLIGHTS

  • Self-Pay Subscribers Exceed 27.5 Million. The Company added 527,000 net new self-pay subscribers in the fourth quarter and 1.56 million for the full-year to end 2017 with approximately 27.5 million self-pay subscribers. Total net additions in the fourth quarter and full-year were 569,000 and 1.39 million, respectively, taking the Company’s total subscriber count to approximately 32.7 million at year-end. As of December 31, 2017, SiriusXM Canada had approximately 2.8 million subscribers. SiriusXM Canada’s subscribers are not included in the Company’s subscriber count or subscriber-based operating metrics. The Company also provides traffic services to approximately 7.5 million vehicles.
  • Strong Revenue and ARPU Growth. Full-year 2017 revenue climbed 8% compared to the year ago period to a record $5.4 billion. The growth was driven primarily by a 4% increase in subscribers and a 3% increase in average revenue per user (ARPU) to $13.25.
  • Record Adjusted EBITDA. Adjusted EBITDA in 2017 reached a record $2.12 billion, up 13% from $1.88 billion in 2016. The Company’s adjusted EBITDA margin was an all-time high of 38.9% in 2017, a 160 basis point increase from 37.3% in 2016.
  • Free Cash Flow Reached a Record $1.56 Billion. Free cash flow for 2017 totaled $1.56 billion, up 3% from $1.51 billion in 2016. Operating cash flow for 2017 totaled $1.86 billion, up 8% from 2016.

“2017 was an aggressive year for capital deployment at SiriusXM. The Company deployed approximately $2.45 billion to return capital to our stockholders and to make strategic investments in Pandora, SiriusXM Canada and connected vehicle services through Automatic. During the year, we repurchased nearly 271 million shares of our common stock for approximately $1.4 billion. We also paid $190 million in dividends to stockholders last year, and increased the dividend by 10% in November 2017. Additionally, our Board of Directors recently approved an additional $2 billion of common stock repurchases, taking our total authorization to $12 billion. At the end of last year, our debt to adjusted EBITDA was just 3.2 times, and we had cash on hand of approximately $69 million and undrawn revolver capacity of nearly $1.5 billion,” noted David Frear, Chief Financial Officer, SiriusXM.

Dubset Releases Exclusive DJ Sets From Steve Aoki, Sigala, DJ Suss One And More On Apple Music

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Dubset Media Holdings announced today that the company has partnered with Apple Music to provide hundreds of DJ mixes to the streaming platform, including three never-before-heard DJ sets from Steve Aoki, Sigala and DJ Suss One. These mixes celebrate the availability of the millions of tracks in Dubset’s MixBank service including those from major label imprints as well as renowned indies like Stones Throw, XL Recordings, Ninja Tune, Domino, Mozzy Records, !K7, Warp Records, Monstercat, Last Kings, Tommy Boy, Anjunabeats, Fool’s Gold, and Axtone among others. DJs all over the world can now tap into this massive library to create their own mixes and are encouraged to check the available catalog by utilizing Dubset’s MixBANK Catalog Search, which is accessible with any free MixBANK account.

“These incredible mixes are a fitting celebration of our shared goal of providing innovative mixes for music fans, while ensuring artists are fairly compensated for their work,” said Dubset Media CEO Stephen White. “Our technology is opening new avenues of revenue for rights holders, artists and DJs, and allows fans around the world to not only listen but to create and distribute new mixed and remixed content in a legal way.”

“How amazing is it to be able to quickly and freely throw together a mix of tracks with no clearances or paperwork required?” said Steve Aoki.  “It’s the dawn of a new era. I can’t wait to see what aspiring DJs and Aoki fans do with my music in their own sets.”

Grammy-nominated Mr. Aoki’s 2011-2017 retrospective megamix showcases work from seven years worth of albums and singles which feature his collaborations with today’s biggest stars including Gucci Mane, Lil Uzi Vert, Lil Yachty & Migos, Fall Out Boy, and many more. Meanwhile, UK Platinum hit radio artist Sigala provides a 30-minute house mix of some of his favorite tracks of 2017 while working in a couple throwback 90’s hip hop and R&B jams.

“Dubset’s new platform is revolutionary!” says Sigala. “It’s so good to easily upload a mix of tracks direct for everyone to hear, and to be the first UK artist to have a mix go live is a massive honor. The future is here!”

To round out the mixes, veteran radio jockey DJ Suss One put together a tribute to classic hip hop featuring the works of many of the all-time greats. Listeners may know DJ Suss One from his current residencies at New York City’s Power 105 and SiriusXM’s Hip Hop Nation – two of the most influential hip hop outlets in the world.

Dubset’s MixBANK technology platform adeptly serves rights holders by solving the complex problem of identifying the underlying musical recordings sampled within DJ sets and remixes. Once the tracks are identified, the platform determines the label and publishing rights holders (a DJ set could have as many as 100 different rights holders), and simultaneously clears the DJ sets or remix across all rights holders within minutes.  Dubset enables record labels and music publishers to set permissions for access via a simple rules-based system which enables catalogs to be efficiently monetized and precludes the need to conduct time consuming searches and initiate claims.

Steve Aoki “The Retrospective Mix: 2011 –2017”
Apple Music: https://itunes.apple.com/us/album/the-retrospective-mix-2011-2017/1339218947

DJ Suss One “Hip Hop Classics – Part 1”
Apple Music: https://itunes.apple.com/us/album/hip-hop-classics-part-1-hip-hop-classics-part-1/1338982765

Sigala “Sigala’s Picks”
Apple Music: https://itunes.apple.com/us/album/sigalas-picks/1338903805

Choir! Choir! Choir! Teamed Up With David Byrne To Perform David Bowie’s “Heroes”

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Choir! Choir! Choir! teamed up with David Byrne and a TON of singers in the Ford Foundation lobby of the Public Theater during Under the Radar Festival to sing David Bowie’s ‘Heroes’.

Tom Hanks on His Most Embarrassing Audition

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Tom Hanks discusses his most embarrassing audition for a touring show of Grease, when he showed up to the audition with a terrible head cold.

Netflix Announces Rapture an 8-part Documentary Series on Hip Hop Culture

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From Mass Appeal, Rapture stares directly into the bright light that hip hop culture shines on the world and doesn’t blink. Throughout 8 episodes and featuring a diverse swath of artists — Nas and Dave East, T.I., Rapsody, Logic, G-Eazy, A Boogie wit da Hoodie, 2 Chainz and Just Blaze – Rapture dives into the artists’ lives with their families and friends, to sitting front row in the studio and grinding on tour, to experiencing the ecstatic power of moving the crowd. It premieres on Netflix March 30th.

Kevin Hart’s “Irresponsible Tour” Adds Over 100 New Dates Across North America, Europe, Australia and Asia

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Kevin Hart announced he is expanding his widely successful and massively hysterical ‘The Kevin Hart Irresponsible Tour,’ adding over 100 new dates across the U.S., Canada, Europe, Australia and Asia. Produced by Live Nation, the new dates will kick off March 23 in Baltimore, MD and hit all new cities including New York, Atlanta, Chicago, Toronto, Paris, London, Sydney, Auckland, Singapore, and more. See below for full routing and on sale details.

Hart’s last multi-city domestic and international WHAT NOW comedy tour sold out large venues all over the world, including being the first comedian to sell out an NFL stadium, selling over 50,000 tickets in one show at Lincoln Financial Field. Internationally, he sold out over a dozen arenas in the European market, selling over 150,000 tickets, and sold out arenas across Australia, selling 100,000 tickets. Hart’s hit comedy tour grossed over $100 million worldwide.

2017 was a banner year for Hart, his memoir I Can’t Make This Up: Life Lessons debuted at Number One on the New York Times Bestseller list and remained on the list for ten consecutive weeks. The book also topped records on the Audible platform, selling over 100,000 copies in the first five weeks. Earlier in the year Hart voiced a title character in Captain Underpants: The First Epic Movie. To close 2017, Kevin appeared in the Sony reboot of the classic film Jumanji alongside Dwayne Johnson and Jack Black. Jumanji has been Kevin’s highest grossing box office release to date, the movie has made over $800 million worldwide.

Hart’s newest business venture is his digital platform the LOL NETWORK – Laugh Out Loud, the comedy brand and multi-platform network founded by Hart in partnership global content leader Lionsgate. Hart’s next feature film is Night School for Universal, a film in which he co-wrote, produces and stars in – all under the Hartbeat production banner. The comedy follows a group of misfits who are forced to attend adult classes in the longshot chance they’ll pass the GED exam.

‘THE KEVIN HART IRRESPONSIBLE TOUR’ 2018 DATES:
DATE: CITY: VENUE:
Fri Mar 23 Baltimore, MD Royal Farms Arena
Sun Mar 25 Richmond, VA Richmond Coliseum
Fri Mar 30 Hampton, VA Hampton Coliseum
Sat Mar 31 Charlotte, NC Spectrum Center
Sun Apr 01 Raleigh, NC PNC Arena
Fri Apr 06 Birmingham, AL Legacy Arena at The BJCC
Sat Apr 07 Jacksonville, FL Veterans Memorial Arena
Sun Apr 08 Atlanta, GA Philips Arena
Fri Apr 13 St. Louis, MO Scottrade Center
Sat Apr 14 Chicago, IL United Center
Fri Apr 20 London, ON Budweiser Gardens
Sat Apr 21 Hamilton, ON FirstOntario Centre
Sun Apr 22 Manchester, NH SNHU Arena
Fri Apr 27 Kansas City, MO Sprint Center
Sat Apr 28 Little Rock, AR Verizon Arena
Sun Apr 29 Louisville, KY KFC Yum! Center
Sat May 05 Rochester, NY Blue Cross Arena
Sun May 06 Buffalo, NY KeyBank Center
Fri May 11 Fresno, CA Save Mart Center
Sat May 12 Bakersfield, CA Rabobank Arena
Sun May 13 Ontario, CA Citizens Business Bank Arena
Thu May 17 Omaha, NE CenturyLink Center
Fri May 18 Indianapolis, IN Bankers Life Fieldhouse
Sat May 19 Cincinnati, OH U.S. Bank Arena
Fri May 25 Saratoga Springs, NY Saratoga Performing Arts Center
Sat May 26 Atlantic City, NJ Boardwalk Hall
Sun May 27 Holmdel, NJ PNC Bank Arts Center
Fri Jun 01 Winnipeg, MB Bell MTS Centre
Sat Jun 02 Saskatoon, SK SaskTel Centre
Sun Jun 03 Regina, SK Brandt Centre
Fri Jun 08 Calgary, AB Scotiabank Saddledome
Sat Jun 09 Edmonton, AB Rogers Place
Sun Jun 10 Boise, ID Ford Idaho Center
Thu Jun 14 Seattle, WA Key Arena
Fri Jun 15 Portland, OR Moda Center
Sat Jun 16 Vancouver, BC Rogers Arena
Thu Jun 21 Mountain View, CA Shoreline Amphitheatre
Fri Jun 22 Concord, CA Concord Pavilion
Sat Jun 23 Irvine, CA Five Points Amphitheatre
Fri Jun 29 Denver, CO Pepsi Center
Sat Jun 30 Salt Lake City, UT Vivint Smart Home Arena
Sun Jul 01 Phoenix, AZ Talking Stick Resort Arena
Fri Jul 06 Las Vegas, NV MGM Grand Garden Arena
Sat Jul 07 San Diego, CA Viejas Arena
Fri Jul 13 Mansfield, MA Xfinity Center
Sat Jul 14 Camden, NJ BB&T Pavilion
Sun Jul 15 Bethel, NY Bethel Woods Center for the Arts
Fri Jul 20 Ottawa, ON Canadian Tire Centre
Sat Jul 21 Toronto, ON Air Canada Centre
Sun Jul 22 Grand Rapids, MI Van Andel Arena
Fri Jul 27 Montreal, QC Centre Bell *Montreal International Just For Laughs Festival
Sat Jul 28 Newark, NJ Prudential Center
Sun Jul 29 Uniondale, NY Nassau Veterans Memorial Coliseum
Fri Aug 03 West Palm Beach, FL Coral Sky Amphitheatre
Sat Aug 04 Tampa, FL Amalie Arena
Sun Aug 05 Biloxi, MS Mississippi Coast Coliseum
Wed Aug 15 Reykjavik, Iceland Laugardalshöll
Thu Aug 16 Copenhagen, Denmark Royal Arena
Fri Aug 17 Oslo, Norway Vallhall Arena
Sat Aug 18 Stockholm, Sweden Ericsson Globe
Sun Aug 19 Gothenburg, Sweden Scandinavium
Tue Aug 21 Dublin, Ireland 3Arena
Wed Aug 22 Paris, France Olympia
Fri Aug 24 Amsterdam, Netherlands Ziggo Dome
Sat Aug 25 Antwerp, Belgium Sportpaleis Antwerp
Sun Aug 26 Berlin, Germany Mercedes-Benz Arena
Mon Aug 27 Cologne, Germany Lanxess Arena
Tue Aug 28 Glasgow, UK SEC (SSE Hydro Arena)
Thu Aug 30 Birmingham, UK Barclaycard Arena, Birmingham
Fri Aug 31 Manchester, UK Manchester Arena
Sun Sep 02 London, UK London O2 Arena
Thu Sept 13 Milwaukee, WI Wisconsin Entertainment and Sports Center
Fri Sep 14 Columbus, OH Nationwide Arena
Sat Sep 15 Washington, DC Capital One Arena
Fri Sep 21 Boston, MA TD Garden
Sat Sept 22 University Park, PA Bryce Jordan Center
Thu Sep 27 New York, NY Madison Square Garden
Thu Oct 04 Cleveland, OH Quicken Loans Arena
Fri Oct 05 Detroit, MI Little Caesars Arena
Sat Oct 06 Nashville, TN Bridgestone Arena
Thu Oct 11 Pensacola, FL Pensacola Bay Center
Fri Oct 12 Tallahassee, FL Donald L. Tucker Civic Center at Florida State University
Sat Oct 13 Miami, FL AmericanAirlines Arena
Thu Oct 18 New Orleans, LA Smoothie King Center
Sat Oct 20 Houston, TX Toyota Center
Fri Oct 26 Dallas, TX American Airlines Center
Sun Oct 28 Tulsa, OK BOK Center
Thu Nov 01 San Antonio, TX AT&T Center
Fri Nov 02 Austin, TX Frank Erwin Center
Sat Nov 03 Oklahoma City, OK Chesapeake Energy Arena
Fri Nov 16 Sacramento, CA Golden 1 Center
Sat Nov 17 Oakland, CA Oracle Arena
Fri Nov 23 Pittsburgh, PA PPG Paints Arena
Sat Nov 24 Philadelphia, PA Wells Fargo Center
Thu Nov 29 Honolulu, HI* Neal S. Blaisdell Concert Hall
Mon Dec 03 Perth, Australia Perth Arena
Wed Dec 05 Melbourne, Australia Rod Laver Arena
Fri Dec 07 Sydney, Australia Qudos Bank Arena
Sun Dec 09 Brisbane, Australia Brisbane Entertainment Centre
Tue Dec 11 Auckland, New Zealand Spark Arena
Thu Dec 13 Singapore SunTec City
*on sale beginning 9am local time

DJ Cummerbund Mashes Shania Twain and Marilyn Manson To Full Effect

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What happens when Marilyn Manson hooks up with Shania Twain? Well, thanks to DJ Cummerbund, we now have the answer in Man I Feel Beautiful by Shanilyn Twanson.

The Gaslight Anthem Celebrate The ’59 Sound With Special Shows

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The Gaslight Anthem has announced a very special series of shows celebrating the 10th anniversary of their milestone second studio album, THE ’59 SOUND. The New Jersey-based rock band will travel North America and Europe performing the album in its entirety, with dates beginning May 27th at Washington, DC’s legendary 9:30 Club and then traveling into mid-August. As previously announced, The Gaslight Anthem will also perform THE ’59 SOUND in its entirety at this year’s Governors Ball Music Festival.

Released by SideOneDummy Records on August 19th, 2008, THE ’59 SOUND officially saw The Gaslight Anthem break out as one of the most electrifying groups, marrying their punk roots with classic FM radio scale to craft a soulful and exhilarating vision of American rock ‘n’ roll. Songs like “Old White Lincoln,” “Great Expectations” and the worldwide smash title track proved transcendent modern rock classics, fueled by heroic hooks, huge choruses, and lead vocalist-guitarist-songwriter Brian Fallon’s masterful chronicles of love, loss, and the broken hearted, of summers gone and dreams still to be met.

THE ’59 SOUND earned The Gaslight Anthem rapturous reviews around the world. “THE ’59 SOUND is an answer to a prayer,” enthused Pitchfork. “When the guitars turn into chorus-firepower, it just kills because it’s been so long since we’ve heard anyone pull that off with such panache.” “Wearing their influences as badges of honour,” wrote Q, “the New Jersey quartet blast out affecting, soulful punk rock strewn with bittersweet memories of small-town blue-collar America.” Perhaps PopMatters said it best: “Oh hell, the whole damn thing is great!”

The Gaslight Anthem’s fifth and final studio album, GET HURT, made top 5 chart debuts in both the US and the UK upon its August 2014 release via Island Records. The band made its last live appearance at the UK’s Reading Festival on August 30th, 2015.

Fan presale begins January 30th (pw: 59SOUND), with all remaining tickets to be released to the general public on February 2nd. For complete ticket information, please visit www.thegaslightanthem.com.

THE GASLIGHT ANTHEM: THE ’59 SOUND TOUR 2018

MAY
27 – Washington, DC – 9:30 Club (w/ Matt Mays, Tim Barry)

JUNE
2 – New York, NY – Governors Ball Music Festival

JULY
20 – London, UK – Eventim Apollo (w/ The Flatliners, Matthew Ryan)
23 – Dublin, IR – Vicar Street (w/ The Flatliners, Matthew Ryan)
24 – Glasgow, UK – Barrowland (w/ The Flatliners, Matthew Ryan)
25 – Manchester, UK – Apollo (w/ The Flatliners, Matthew Ryan)
27 – Tilburg, NL – O13 (w/ The Flatliners, Matthew Ryan)
28 – Cologne, DE – Palladium (w/ The Flatliners, Matthew Ryan)

AUGUST
10 – Toronto, ON – Rebel (w/ Joe Sib)
11 – Chicago, IL – Riviera Theatre (w/ Matt Mays, Joe Sib)

Lunch & Learn Seminar From CIMA: Know Your Rights! Copyright & Royalties

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CIMA & WorkInCulture Present Lunch & Learn 05: Know Your Rights! Copyright & Royalties

When: Wednesday, February 21st, 2018

Where: Artscape Youngplace (180 Shaw Street, Toronto, ON)

Time: 12:00pm – 2:00pm

Price: FREE for CIMA & MusicOntario members with discount code; $10 for non-members

Confused by copyright and royalties? You’re not alone! As independent artists, it’s essential to know your rights in order to make the most of your music, so prep your questions for February 21st and come get the breakdown from our guest speaker, Ron Rogers, as he uncovers the need-to-know information on intellectual property, copyright, royalties, collection societies, sync licenses, and neighbouring rights!

Ron Rogers has nearly 25 years of experience in the music industry in Canada. His career began at former industry trade journal RPM, where as news editor he covered music business trends and events, and interviewed many of the top artists and executives in music. He has also written freelance articles, promotional materials and advertorials for a variety of companies and media outlets, including Billboard Magazine, Sun Media and Canadian Music Week.

Ron later joined The Children’s Group, one of Canada’s leading independent record labels, as their Director of Publicity and Promotion. Ron subsequently left The Children’s Group to become Head of the Entertainment Management Program at a noteworthy private career college, where he developed curriculum, cultivated and coordinated a faculty of industry professionals, and developed and taught courses in music business, communications and career planning.

For the past 9 years, Ron has been a faculty member, curriculum designer and career and alumni advisor at Metalworks Institute in Mississauga, ON, a private career college dedicated to entertainment industry arts education.

In addition to his work at Metalworks, Ron also designed a Music Business certificate program for George Brown College’s Continuing Education School in Toronto, and currently runs his own music consulting business (soundintellect.com). For more than a decade he has been a juror with the Foundation to Assist Canadian Talent on Recordings (FACTOR).

You can go here for tickets!

Alessia Cara Responds To Online Trolls About Her Winning Grammy’s “Best New Artist”

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Alessia Cara won Best New Artist at the 60th Annual Grammy Awards on Sunday, and that seemed to bring out the social media trolls. Forget the fact that changes to the Grammy rules made her eligible. Forget the fact that this was her breakout year. And forget the fact that the music industry and all the judges that encompasses a winner voted for her. No, no, the haters attacked her. Alessia had a brilliant response, as if she needed to say something in the first place – which she absolutely does not – but here it is. And it’ll make you love her even more.

to address the apparent backlash regarding winning something I had no control over: I didn’t log onto grammy.com and submit myself. that’s not how it works. I didn’t ask to be submitted either because there are other artists that deserve the acknowledgment. but I was nominated and won and I am not going to be upset about something I’ve wanted since I was a kid, not to mention have worked really hard for. I meant everything I said about everyone deserving the same shot. there is a big issue in the industry that perpetuates the idea that an artist’s talent and hard work should take a back seat to popularity and numbers. and I’m aware that my music wasn’t released yesterday, I’m aware that, yes, my music has become fairly popular in the last year. but I’m trying very hard to use the platform I’ve been given to talk about these things and bring light to issues that aren’t fair, all while trying to make the most of the weird, amazing success I’ve been lucky enough to have. I will not let everything I’ve worked for be diminished by people taking offence to my accomplishments and feeling the need to tell me how much I suck. here’s something fun! I’ve been thinking I suck since I was old enough to know what sucking meant. I’ve beat u to it. And that’s why this means a lot to me. despite my 183625 insecurities, I’ve been shown that what I’ve created is worth something and that people actually give a shit. all of the years feeling like I wasn’t good at anything or that I was naive for dreaming about something improbable have paid off in a way that I have yet to process. I know it sounds cheesy and dumb but it’s the honest truth. thanks to everyone who’s shown me kindness and support along the way. I’ll stop talking now.

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