Latest news with #Slacker
Yahoo
05-06-2025
- Business
- Yahoo
LiveOne (NASDAQ: LVO) to Announce Fiscal Year 2025 Financial Results and Host Investor Webcast on Wednesday, June 18, 2025
Reaffirms Audio Revenue of $108M+ and Adjusted EBITDA* of $16M+ for FY25 Improves efficiency by leveraging state of the art AI technology launching 25+ new radio stations and hosts. Reducing one-third of Slacker staff and achieving an additional $1.3M in cost savings LOS ANGELES, June 05, 2025 (GLOBE NEWSWIRE) -- LiveOne (Nasdaq: LVO), an award-winning, creator-first, music, entertainment, and technology platform, will announce preliminary financial results for its fiscal year ended March 31, 2025 ('FY25') and will host an investor webcast on Wednesday, June 18, 2025. 'We believe that AI, when thoughtfully integrated, allows us to scale and personalize our programming while staying true to what makes Slacker Radio different—human-centered curation, storytelling, and the connection that our DJs and hosts create with listeners,' said Jaime Solis, Head of Content & Programming at LiveOne. About LiveOneHeadquartered in Los Angeles, CA, LiveOne (Nasdaq: LVO) is an award-winning, creator-first, music, entertainment, and technology platform focused on delivering premium experiences and content worldwide through memberships and live and virtual events. LiveOne's subsidiaries include Slacker, PodcastOne (Nasdaq: PODC), PPVOne, CPS, LiveXLive, DayOne Music Publishing, Drumify and Splitmind. LiveOne is available on iOS, Android, Roku, Apple TV, Spotify, Samsung, Amazon Fire, Android TV, and through STIRR's OTT applications. For more information, visit and follow us on Facebook, Instagram, TikTok, YouTube and X at @liveone. For more investor information, please visit Forward-Looking StatementsAll statements other than statements of historical facts contained in this press release are 'forward-looking statements,' which may often, but not always, be identified by the use of such words as 'may,' 'might,' 'will,' 'will likely result,' 'would,' 'should,' 'estimate,' 'plan,' 'project,' 'forecast,' 'intend,' 'expect,' 'anticipate,' 'believe,' 'seek,' 'continue,' 'target' or the negative of such terms or other similar expressions. These statements involve known and unknown risks, uncertainties and other factors, which may cause actual results, performance or achievements to differ materially from those expressed or implied by such statements, including: LiveOne's reliance on its largest OEM customer for a substantial percentage of its revenue; LiveOne's ability to consummate any proposed financing, acquisition, spin-out, special dividend, merger, distribution or transaction, the timing of the consummation of any such proposed event, including the risks that a condition to the consummation of any such event would not be satisfied within the expected timeframe or at all, or that the consummation of any proposed financing, acquisition, spin-out, merger, special dividend, distribution or transaction will not occur or whether any such event will enhance shareholder value; LiveOne's ability to continue as a going concern; LiveOne's ability to attract, maintain and increase the number of its users and paid members; LiveOne identifying, acquiring, securing and developing content; LiveOne's intent to repurchase shares of its and/or PodcastOne's common stock from time to time under LiveOne's announced stock repurchase program and the timing, price, and quantity of repurchases, if any, under the program; LiveOne's ability to maintain compliance with certain financial and other covenants; LiveOne successfully implementing its growth strategy, including relating to its technology platforms and applications; management's relationships with industry stakeholders; LiveOne's ability to extend and/or refinance its indebtedness and/or repay its indebtedness when due; uncertain and unfavorable outcomes in legal proceedings and/or LiveOne's ability to pay any amounts due in connection with any such legal proceedings; changes in economic conditions; competition; risks and uncertainties applicable to the businesses of LiveOne's subsidiaries; and other risks, uncertainties and factors including, but not limited to, those described in LiveOne's Annual Report on Form 10-K for the fiscal year ended March 31, 2024, filed with the U.S. Securities and Exchange Commission (the 'SEC') on July 1, 2024, Quarterly Report on Form 10-Q for the quarter ended December 31, 2024, filed with SEC on February 14, 2025, and in LiveOne's other filings and submissions with the SEC. These forward-looking statements speak only as of the date hereof, and LiveOne disclaims any obligation to update these statements, except as may be required by law. LiveOne intends that all forward-looking statements be subject to the safe-harbor provisions of the Private Securities Litigation Reform Act of 1995. * About Non-GAAP Financial MeasuresTo supplement our consolidated financial statements, which are prepared and presented in accordance with the accounting principles generally accepted in the United States of America ("GAAP"), we present Contribution Margin (Loss) and Adjusted Earnings Before Interest Tax Depreciation and Amortization ("Adjusted EBITDA"), which are non-GAAP financial measures, as measures of our performance. The presentation of these non-GAAP financial measures is not intended to be considered in isolation from, or as a substitute for, or superior to, operating loss and or net income (loss) or any other performance measures derived in accordance with GAAP or as an alternative to net cash provided by operating activities or any other measures of our cash flows or liquidity. We use Contribution Margin (Loss) and Adjusted EBITDA to evaluate the performance of our operating segments. We believe that information about these non-GAAP financial measures assists investors by allowing them to evaluate changes in the operating results of our business separate from non-operational factors that affect operating income (loss) and net income (loss), thus providing insights into both operations and the other factors that affect reported results. Adjusted EBITDA is not calculated or presented in accordance with GAAP. A limitation of the use of Adjusted EBITDA as a performance measure is that it does not reflect the periodic costs of certain amortizing assets used in generating revenue in our business. Accordingly, Adjusted EBITDA should be considered in addition to, and not as a substitute for operating income (loss), net income (loss), and other measures of financial performance reported in accordance with GAAP. Furthermore, this measure may vary among other companies; thus, Adjusted EBITDA as presented herein may not be comparable to similarly titled measures of other companies. Contribution Margin (Loss) is defined as Revenue less Cost of Sales. Adjusted EBITDA is defined as earnings before interest, other (income) expense, income tax expense, depreciation and amortization and before (a) non-cash GAAP purchase accounting adjustments for certain deferred revenue and costs, (b) legal, accounting and other professional fees directly attributable to acquisition activity, (c) employee severance payments and third party professional fees directly attributable to acquisition or corporate realignment activities, (d) certain non-recurring expenses associated with legal settlements or reserves for legal settlements in the period that pertain to historical matters that existed at acquired companies prior to their purchase date and a one-time minimum guarantee to effectively terminate a live events distribution agreement post COVID-19, and (e) certain stock-based compensation expense. Management does not consider these costs to be indicative of our core operating results. With respect to projected full Fiscal 2026 Adjusted EBITDA, a quantitative reconciliation is not available without unreasonable efforts due to the high variability, complexity and low visibility with respect to purchase accounting adjustments, acquisition-related charges and legal settlement reserves excluded from Adjusted EBITDA. We expect that the variability of these items to have a potentially unpredictable, and potentially significant, impact on our future GAAP financial results. LiveOne Press Contact:press@ Follow LiveOne on social media: Facebook, Instagram, TikTok, YouTube, and X at @liveone.
Yahoo
05-06-2025
- Business
- Yahoo
LiveOne (NASDAQ: LVO) to Announce Fiscal Year 2025 Financial Results and Host Investor Webcast on Wednesday, June 18, 2025
Reaffirms Audio Revenue of $108M+ and Adjusted EBITDA* of $16M+ for FY25 Improves efficiency by leveraging state of the art AI technology launching 25+ new radio stations and hosts. Reducing one-third of Slacker staff and achieving an additional $1.3M in cost savings LOS ANGELES, June 05, 2025 (GLOBE NEWSWIRE) -- LiveOne (Nasdaq: LVO), an award-winning, creator-first, music, entertainment, and technology platform, will announce preliminary financial results for its fiscal year ended March 31, 2025 ('FY25') and will host an investor webcast on Wednesday, June 18, 2025. 'We believe that AI, when thoughtfully integrated, allows us to scale and personalize our programming while staying true to what makes Slacker Radio different—human-centered curation, storytelling, and the connection that our DJs and hosts create with listeners,' said Jaime Solis, Head of Content & Programming at LiveOne. About LiveOneHeadquartered in Los Angeles, CA, LiveOne (Nasdaq: LVO) is an award-winning, creator-first, music, entertainment, and technology platform focused on delivering premium experiences and content worldwide through memberships and live and virtual events. LiveOne's subsidiaries include Slacker, PodcastOne (Nasdaq: PODC), PPVOne, CPS, LiveXLive, DayOne Music Publishing, Drumify and Splitmind. LiveOne is available on iOS, Android, Roku, Apple TV, Spotify, Samsung, Amazon Fire, Android TV, and through STIRR's OTT applications. For more information, visit and follow us on Facebook, Instagram, TikTok, YouTube and X at @liveone. For more investor information, please visit Forward-Looking StatementsAll statements other than statements of historical facts contained in this press release are 'forward-looking statements,' which may often, but not always, be identified by the use of such words as 'may,' 'might,' 'will,' 'will likely result,' 'would,' 'should,' 'estimate,' 'plan,' 'project,' 'forecast,' 'intend,' 'expect,' 'anticipate,' 'believe,' 'seek,' 'continue,' 'target' or the negative of such terms or other similar expressions. These statements involve known and unknown risks, uncertainties and other factors, which may cause actual results, performance or achievements to differ materially from those expressed or implied by such statements, including: LiveOne's reliance on its largest OEM customer for a substantial percentage of its revenue; LiveOne's ability to consummate any proposed financing, acquisition, spin-out, special dividend, merger, distribution or transaction, the timing of the consummation of any such proposed event, including the risks that a condition to the consummation of any such event would not be satisfied within the expected timeframe or at all, or that the consummation of any proposed financing, acquisition, spin-out, merger, special dividend, distribution or transaction will not occur or whether any such event will enhance shareholder value; LiveOne's ability to continue as a going concern; LiveOne's ability to attract, maintain and increase the number of its users and paid members; LiveOne identifying, acquiring, securing and developing content; LiveOne's intent to repurchase shares of its and/or PodcastOne's common stock from time to time under LiveOne's announced stock repurchase program and the timing, price, and quantity of repurchases, if any, under the program; LiveOne's ability to maintain compliance with certain financial and other covenants; LiveOne successfully implementing its growth strategy, including relating to its technology platforms and applications; management's relationships with industry stakeholders; LiveOne's ability to extend and/or refinance its indebtedness and/or repay its indebtedness when due; uncertain and unfavorable outcomes in legal proceedings and/or LiveOne's ability to pay any amounts due in connection with any such legal proceedings; changes in economic conditions; competition; risks and uncertainties applicable to the businesses of LiveOne's subsidiaries; and other risks, uncertainties and factors including, but not limited to, those described in LiveOne's Annual Report on Form 10-K for the fiscal year ended March 31, 2024, filed with the U.S. Securities and Exchange Commission (the 'SEC') on July 1, 2024, Quarterly Report on Form 10-Q for the quarter ended December 31, 2024, filed with SEC on February 14, 2025, and in LiveOne's other filings and submissions with the SEC. These forward-looking statements speak only as of the date hereof, and LiveOne disclaims any obligation to update these statements, except as may be required by law. LiveOne intends that all forward-looking statements be subject to the safe-harbor provisions of the Private Securities Litigation Reform Act of 1995. * About Non-GAAP Financial MeasuresTo supplement our consolidated financial statements, which are prepared and presented in accordance with the accounting principles generally accepted in the United States of America ("GAAP"), we present Contribution Margin (Loss) and Adjusted Earnings Before Interest Tax Depreciation and Amortization ("Adjusted EBITDA"), which are non-GAAP financial measures, as measures of our performance. The presentation of these non-GAAP financial measures is not intended to be considered in isolation from, or as a substitute for, or superior to, operating loss and or net income (loss) or any other performance measures derived in accordance with GAAP or as an alternative to net cash provided by operating activities or any other measures of our cash flows or liquidity. We use Contribution Margin (Loss) and Adjusted EBITDA to evaluate the performance of our operating segments. We believe that information about these non-GAAP financial measures assists investors by allowing them to evaluate changes in the operating results of our business separate from non-operational factors that affect operating income (loss) and net income (loss), thus providing insights into both operations and the other factors that affect reported results. Adjusted EBITDA is not calculated or presented in accordance with GAAP. A limitation of the use of Adjusted EBITDA as a performance measure is that it does not reflect the periodic costs of certain amortizing assets used in generating revenue in our business. Accordingly, Adjusted EBITDA should be considered in addition to, and not as a substitute for operating income (loss), net income (loss), and other measures of financial performance reported in accordance with GAAP. Furthermore, this measure may vary among other companies; thus, Adjusted EBITDA as presented herein may not be comparable to similarly titled measures of other companies. Contribution Margin (Loss) is defined as Revenue less Cost of Sales. Adjusted EBITDA is defined as earnings before interest, other (income) expense, income tax expense, depreciation and amortization and before (a) non-cash GAAP purchase accounting adjustments for certain deferred revenue and costs, (b) legal, accounting and other professional fees directly attributable to acquisition activity, (c) employee severance payments and third party professional fees directly attributable to acquisition or corporate realignment activities, (d) certain non-recurring expenses associated with legal settlements or reserves for legal settlements in the period that pertain to historical matters that existed at acquired companies prior to their purchase date and a one-time minimum guarantee to effectively terminate a live events distribution agreement post COVID-19, and (e) certain stock-based compensation expense. Management does not consider these costs to be indicative of our core operating results. With respect to projected full Fiscal 2026 Adjusted EBITDA, a quantitative reconciliation is not available without unreasonable efforts due to the high variability, complexity and low visibility with respect to purchase accounting adjustments, acquisition-related charges and legal settlement reserves excluded from Adjusted EBITDA. We expect that the variability of these items to have a potentially unpredictable, and potentially significant, impact on our future GAAP financial results. LiveOne Press Contact:press@ Follow LiveOne on social media: Facebook, Instagram, TikTok, YouTube, and X at @liveone.
Mint
04-06-2025
- Business
- Mint
Texas Is Going About Its Hollywood Ambitions All Wrong
(Bloomberg Opinion) -- There's nothing particularly new or unusual about states offering incentives to lure entertainment companies to produce films, television shows and video games within their borders. For decades, state and local governments in New York, Georgia, New Mexico and elsewhere have offered rebates and/or incentives in exchange for the boosts to local commerce and employment that large-scale productions can offer. So, on its face, Texas Senate Bill 22 — legislation providing at least $1.5 billion over 10 years to increase production in the Lone Star State — seems not only wise but uncontroversial. But, the measure, which was approved by the state Senate in April and passed by the House last month, is loaded with the kind of poison pills that could conceivably push major productions away. 'Those who opposed the bill raised concerns about how the governor's office will determine which productions to fund,' The Texas Tribune's Pooja Salhotra noted earlier this year. 'The bill gives the governor's office complete discretion over which projects receive grant funding.' In fact, Lieutenant Governor Dan Patrick, who has made the proposal a priority, has explicitly decreed that these state-subsidized productions should 'export Texas faith and family values,' and each project will be judged on whether it 'portrays Texas and Texans in a positive fashion.' It should be noted that Texas isn't exactly a barren wasteland for film and television production as it is. The annual SXSW conference is a splashy showcase for new movies and television shows from both independent and studio filmmakers, and one that frequently spotlights local talent. Austin-based writer-director Richard Linklater helped put his state on the map via locally set and shot films such as Slacker, Dazed and Confused and Bernie. Fellow Austinite Robert Rodriguez built an entire studio and postproduction facility in the city, where he's produced and directed multiple films and series. Rodriguez, Linklater and other Texas filmmakers have taken advantage of existing state incentive funds to work there — though not always smoothly. After the release of his 2010 action-comedy Machete, the Texas Film Commission denied Rodriguez and his producers the money they'd been promised, objecting to the film's negative portrayal of Texas. (Its sequel, Machete Kills, was denied funds outright, prompting its production company to sue the Commission.) Perhaps because of that spotty history, coupled with the larger incentives offered by nearby states and their film commissions, many recent Texas-set productions have been shot outside of the state. Some native power players, however, have pushed back, often at their own expense. Matthew McConaughey has said that he and fellow Texan Woody Harrelson gave back 15% of their pay to offset the cost of shooting their new Apple TV show Brothers in the Austin area, rather than its planned production base in Georgia. Both actors have thrown their enthusiastic public support behind SB22. But do they know what they're signing on for? Republican state Senator Paul Bettencourt of Houston indicated that the incentives shouldn't support the likes of Landman, the West Texas-set drama from television powerhouse, Texan and SB22 supporter Taylor Sheridan. Why? Because 'having Billy Bob Thornton f-bomb every sentence is not Texas values.' McConaughey and Harrelson shot a promo video for the bill, reprising their characters from the hit True Detective — but that show, which features not only copious profanity but nudity, graphic violence and themes of sexual abuse and pedophilia, would likely not have met the 'family values' standards of the bill. In fact, historical precedents indicate a hands-off approach is more effective. For decades, location shooting in New York City was all but nonexistent. The combination of unnecessarily complicated paperwork and pricy production expenses led most film and television crews to shoot their New York stories on Hollywood backlots. But in 1965, mayoral candidate John Lindsay campaigned on a promise to bring film production to NYC, and he kept his word. Lindsay's Executive Order Number 10 established the Mayor's Office of Film, Theatre and Broadcasting, a one-stop shop coordinating production and allowing filmmakers to cut through the red tape. It also cut special deals with the labor unions for films shot entirely in the for Lindsay, film production in the city kicked into high gear just as crime was on the rise and tax revenue was tumbling, resulting in state funds incentivizing the making of movies, such as Taxi Driver and The Warriors, that depicted New York as a lawless hellscape. But Lindsay and his successors in the mayor's office refused to interfere, or to make the program contingent on their approval of scripts or finished films. They understood what Patrick, Bettencourt and their fellow morality police do not: that such restrictions amount to censorship, and that Texas's explicitly stated objections and goals amount to the creation of a propaganda program. There's no questioning the short walk from 'faith and family values' to the 'anti-communist' flag-waving of the McCarthy era — specifically, the targeted harassment by the House Un-American Activities Committee and its shameful campaign to flush out 'subversive' elements and influences in Hollywood. In the aftermath of those investigations and the film industry's voluntary blacklist of those accused, Hollywood embarked on one of its dullest eras. The period was filled with unobjectionable, squeaky-clean portrayals of good Americans going to work and being model citizens and otherwise projecting that era's equivalent of 'family values.'Many of those films haven't aged that well; they feel sanitized, empty, phony. Texas's efforts to turn itself into the Hollywood Southwest are admirable, but the products of its intellectually homogenized, artistically neutered program are likely to age just as poorly. More From Bloomberg Opinion: This column reflects the personal views of the author and does not necessarily reflect the opinion of the editorial board or Bloomberg LP and its owners. Jason Bailey is a film critic and historian whose work has appeared in the New York Times, Vulture, the Playlist, Slate and Rolling Stone. He is the author, most recently, of 'Gandolfini: Jim, Tony, and the Life of a Legend.' More stories like this are available on
Times
18-05-2025
- Entertainment
- Times
Nouvelle Vague review — Richard Linklater's geeky homage to Godard
The epitome of niche entertainment is this whimsical behind-the-scenes drama from Richard Linklater given its premiere at Cannes. Nouvelle Vague is about the making of Jean-Luc Godard's seminal crime film from 1960, À bout de souffle (Breathless). Godard's classic, alongside François Truffaut's The 400 Blows, essentially launched the French New Wave and radically altered the creative parameters of cinematic style and substance. Stodgy studio shooting and wholesome dramatic subjects were out. Handheld camera work, lively street scenes and hipster insouciance were in. A direct line, in fact, can be traced from À bout de souffle to Linklater's roving, freeform breakout hit from 1990, Slacker. Perhaps unsurprisingly, Linklater approaches this material with the spirit of a enthusiastic Godard geek. Everything here is
USA Today
22-02-2025
- Entertainment
- USA Today
Home from cult classic 'Dazed and Confused' is now for sale at $950K
Home from cult classic 'Dazed and Confused' is now for sale at $950K Show Caption Hide Caption Existing home sales fall to lowest level since 1995 The latest home sales numbers painted a discouraging picture for the real estate industry as sales fell to the lowest level since 1995. Straight Arrow News A piece of film history is up for sale in Austin, Texas, and will only cost you just under $1 million. Paying the steep price will make you the new owner of the original house used by "Dazed and Confused" character Mitch Kramer. Officially listed at $950,000, the home is found within Austin's Allandale neighborhood and is located at 6806 Pioneer Pl. Built in 1964, the home has been recently renovated, although nostalgia still oozes throughout the home. In addition to having the front door repainted to mirror its look in the movie, the home now comes complete with vinyl plank flooring in a chevron pattern and a wooden structured patio. The house is located on a .21-acre lot and contains four bedrooms, two bathrooms, two office spaces and a game room. It is already fitted with a heated and air-conditioned garage that can be converted into an additional room or back into a stereotypical garage. Altogether, and not including the additional space from the garage, the home is 2,137 square feet according to the floor plan measure. The listing is being managed by Compass Real Estate agents Chris and Marjorie Tinnell. 'Dazed and Confused' remains a beloved cult classic If you lived in the 1990s and wanted to travel back in time to the 1970s, there weren't many more enjoyable vehicles than Richard Linklater's 1993 film 'Dazed and Confused.' Linklater originally approached the semi-autobiographical tale of his high school years in Huntsville, intending to make an anti-nostalgia movie to pull back the curtain on the shared misery and lowercase 't' trauma that many of us experienced. The movie, filmed in Austin in 1992, served as an early milestone in Linklater's career, with him making the jump to the more fraught world of studio filmmaking after the breakout success of his micro-budget indie film 'Slacker.' 'Dazed and Confused' also marked one of the first films in the careers of many of its young stars, including Matthew McConaughey, Ben Affleck and Parker Posey. Matthew Odam contributed to this report. Beck Andrew Salgado covers trending topics in the Austin business ecosystem for the American-Statesman. To share additional tips or insights with Salgado, email Bsalgado@
