Activity Report

2012Activity Report

Society of Authors, Composers and Music Publishers C ontents

04 Editorial 06 Panorama 10 Profile 28 Being assertive 30 Top success abroad – Figures for 2012 32 New horizons 34 Defending private copying and protecting creation

Collections 36 1214 Bringing support Trends – Figures for 2012 16 Anticipating, inventing, adapting... 38 c ultural projects: 18 Prospects the winners with young creators 40 Sacem Action Fund: sponsoring all musical genres 41 A model for international cooperation 42 20Distribution 22 Trends – Figures for 2012 Managing 24 When the music is good... 44 Governance 26 Top successes in 2012 46 New management

27 Sacem Grand Prix 48 Sacem: supervision and transparency sneau he C © Marc Marc ©

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What other initiatives are being At the heart of music considered? As CEO of Sacem since June 2012, Jean-Noël Tronc reviews a year rich Services to authors, composers and publishers are one of the priorities of our ac- in accomplishments. tion through a project dubbed “Sacem Sacem has the largest PLUS” which aims to simplify procedures Before describing this action plan, can for our members and enrich the services you tell us your first impression when membership base Sacem wishes to provide them. Services you discovered Sacem? linked to distribution will thus be simpli- My first impression, even before joining in Europe, the second fied and dematerialised and a new card was the Society, and which has been recon- launched to offer members access to a pro- firmed since, was that Sacem has many worldwide.” gramme of advantages. assets: the largest membership base in Eu- rope which ranks second worldwide Jean-Noël Tronc (145,000 members in 2012), the highest What would you propose in the future level of general rights per capita in the to improve a society and a system world, powerful accurate measurement whose performance levels are already tools for distribution (80% of distributions well recognised in the world? per programme), a central place in music Sacem is a very efficient society, but we are in France (56% spontaneous recognition facing a challenge to the very principles of and 92% assisted recognition according to copyright and authors’ rights. There is a a BVA survey in July 2012), and carries a ground swell which has arisen in the past strong institutional weight. It is also for us fifteen years worldwide and which affects to make the best of these assets to make France and Europe, too. The activities of Sacem the top European authors’ society in authors’ societies are increasingly subject the Digital Age. to regulations by the European authorities, as attested for example by the Directive on Collective Management in preparation in Brussels. Located at the heart of the music 2012 was a year of transition for Can you tell us about the main priorities ecosystem in France, our Society under- Sacem. How would you sum up this for Sacem’s different Departments? goes recurrent attacks against its missions first year as new CEO? In order to be as efficient as possible, it was and its organisation, kept up by a profound The year 2012 was characterised first by a first decided to create a Strategic Resources Is there a Sacem quality which must be ignorance of its functions and role in the change in governance. I took over manage- Department as well as an International Af- given special attention? service of creators and publishers. In an in- ment of the Society on 20 June 2012, fol- fairs Department and place the regional Transparency! Sacem is a society which creasingly competitive situation, Sacem lowing the General Assembly with the ex- network and its staff under the responsibil- undergoes many controls both internally must also strive to reinforce its effective- ecutive body (former “Directoire”) ity of General Management. A new strate- and externally. This is something that is ness to preserve and attract creators and becoming a Management Committee. gy was set up concerning IT issues to make very poorly known. It is our job to make it great repertoires, in full respect in the fun- My arrival with my new team led to strate- Sacem tools operational internationally, known. An Auditing and Internal Control damentals that give it its specificity. gic reflection in connection with the Board whether it be licensing (launch of Armonia Department was created to complete the of Directors and a new action plan for the with stabilised governance and operations) establishment of a Remunerations Society. or data processing. Support functions, for Committee validating the Management finances and human resources in particu- team’s salaries. My own remuneration is lar, have also been modified to improve public knowledge and can be consulted on cross-cutting and the efficiency of work in the sacem.fr website.

project mode. t Millo e t s i t p © Jean-Ba ©

4 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 5 Panorama

February Ludovic Bource wins an Oscar Sacem member Ludovic Bource composed the score for the film The Artist. May Iomma January The role of music was An international Sacem Stage brought together three artists Signature of an agreement determinant in this historic from Reunion Island (JF Gang, Toguna and Christine Salem) with Creative Commons success story in which a having received aid from Sacem (self-production, stage First agreement signed by Creative French film was awarded production, career support). Commons with an authors’ society in the Oscar for Best Picture France for non-commercial broadcasts. for the very first time in Musicora It enables Sacem members to promote eighty-four years. Sacem organised two concerts for this Classical and their works in a non-commercial Contemporary Music event, as well as a round table with framework and combines the use of Les Jeunesses Musicales de France. non-commercial licences proposed by Creative Commons and Sacem collection La Musique fait son cinéma à Cannes and distribution methods. A partner of “Talents Cannes” present at the Cannes Soundtrack Pavilion, Sacem is committed year round to encouraging music for images. JF Gang. March Festival international du film d’Aubagne A venue for creation and meetings, this festival encourages fruitful exchanges between professionals and young A pril creators. Launch of the Musique Prim’ website June This educational tool born of the partnership between Signature of an agreement Election of the Board Scène Sacem Internationale, National Education and the with France Télévisions of Directors, appointment Francofolies de Montréal Tous Pour La Musique A single agreement replaces of the CEO Sacem and Les Francofolies de Association targets school and simplifies the various At extraordinary and ordinary Montréal have joined forced to teachers to offer access to agreements previously General Meetings, Sacem hold every year a Scène Sacem a hundred or so musical and applicable to each channel. members ratified the Board of Internationale. Thus, a line-up of audiovisual works to It adapts the remuneration of Directors’ proposal to change artists receiving career support illustrate music education Sacem rights holders to France the Society’s statutes to simplify (Vendeurs d’Enclumes and programmes. Télévisions’s funding structure organisation and operations. Yves Jamait in 2012) and covers the use of works The Directoire became a is presented to the Canadian Printemps de Bourges from Sacem repertoire whether General Management. The new professional industry. Sacem presented its live for broadcast on France Board of Directors, chaired performance indicators Télévisions channels and radio by Laurent Petitgirard, chose

and an unpublished study sneau stations or for free digital uses. Jean-Noël Tronc to be the CEO. he

on Festivals in France. C – Marc Marc –

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Jeanne Cherhal, Scène Sacem Création, Francofolies 2012. m h c sneau S

t he C © Floren © Marc ©

6 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 7 Panorama

O ctober Launch of MonProjetMusique.fr A site dedicated to funding professional music projects for all structures, all kinds of music and over the entire territory. This initiative is carried by the music industry (authors’ June-July societies and professional organisations). Les Nuits de Fourvière Three artists having benefited from the career assistance programme were November scheduled to open the concert during France Musique-Sacem Prize for film the Festival (Vieux Farka Touré opening music for Yannick Noah, C2C opening Given out during a soiree at Le Trianon, for Metronomy and François & the Atlas this prize rewards film music. The winner Mountains opening for Camille). then received a commission from Radio-France which will premiere the following year in a performance by the Frànçois and the Atlas Mountains. Radio-France Philharmonic Orchestra. In 2012, the Polish composer Paweł Mykietyn was rewarded for the original September-October soundtrack of Jerzy Skolimowski’s film July Musica Essential Killing. Sacem supports this Contemporary Séries, Séries (Fontainebleau) Music Festival with, in particular in 2012, Desirous of granting a choice place programming on the theme of America for composers, Sacem is mobilised to and ensembles in Europe. Grands Prix Lescure Mission Proposals emphasise the importance of original Sacem Laurent Petitgirard, Chairman of the music and soundtracks for television Read more Board of Directors, and Jean-Noël Tronc, series. about this CEO, presented a set of proposals for the ceremony mission conducted by Pierre Lescure on Festival Les Suds (Arles) on page 29. Act 2 of the cultural exception. Sacem brought its support to a concert at Its objectives: promoting access for the Musée Départemental Antique, with everyone to culture in general and music the cellist and composer Vincent Ségal, in particular, and promote modern trained in the Conservatoire. regulations for the digital culture.

Armonia launch September-December Armonia, the firstE uropean portal for Chantiers des Francos tour licensing online services, has been Twelve talents from Chantier des Francos made their way launched and signed its first agreement December to six French cities! At Sacem’s instigation, Les Francofolies with Google to have access to the New tariffs for private copying and halls presenting Musiques Actuelles, this tour highlighted repertoires of Sacem, Sgae, Siae, Umpi, Despite many attempts at blockage on the part of electronic young artists. Sony Latino, Peer Latino and Spa: equipment manufacturers and importers, the Committee for They included: Nevchehirlian, Claire Denamur, Mustang, t the largest repertoire in the world. remuneration of private copying succeeded in adopting new Rover, We Were Evergreen, Christine and the Queens, tariffs. This struggle turned in favour of authors, performers, Théodore, Paul & Gabriel, Buridane, Maia Vidal, Cabadzi, producers and publishers of musical, audiovisual, written and er Jacque er i v Ben Mazué, Frànçois & the Atlas Mountains... i visual works. l Rover. O sneau he C © Phil Journé – – Journé Phil © Marc ©

8 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 9 Profile

Founded in 1851 by authors, composers and publishers of music, Method of distribution 9% Sacem is a private non-profit organisation. of royalties The royalties collected are distributed 11% It has three main missions: as closely as possible to the actual use of the works. Collecting and distributing royalties for authors, composers and publishers from France and all over the world whenever their works are used. Work par work 100% By survey 80% Defending and representing authors, composers By consumption habits and publishers in France and abroad.

Promoting and supporting creation in all its diversity.

I n 2012 €802.6m 145,000 collected from members, with 4, 000 new members every year. 1.1million new works filed each year, including 152,350 Sacem works. 620,000 clients ou utilisateurs de musique. Over

15.4 % Over This is the percentage of administrative costs.

70million French and foreign works represented in all musical genres (song, rock, jazz, film scores €19.3m 70 locations in Paris and advertising, humour, video clips...). dedicated to Cultural Projects. and in French regions. sneau he C © Marc Marc ©

10 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 11 Italo Calvino counts aretheworks.” “Of anauthor, allthat Collecting

Figures for 2012 Trends Distribution of collections by sector (m€) Sub -se ct or Five-year trends in collections (in €m) s

Sect ors 819.6 819.4 20.5 802.6 51.3 755.8 762.3 -2% between 2011 and 2012 70.5 +6% between 2008 and 2012 216.7 305.1 82 2008 2009 2010 2 011 2012 802.6

18.5 51.6

273.2 36.8 Variation 2011-2012 of collections by sector 117. 5 Internet 137.2 General International rights

Audiovisual media €305.1m > Television €216.7m +13 % Radio €51.6m ADSL €36.8m General rights €273.2m > Concerts, shows, dance €137.2m +2% +2.6% 0 Background music, discotheques €117.5m Cinemas €18.5m International €82m % % -4.9 -5 Physical media (phono, video) €70.5m Private copying €51.3m Internet €20.5m -11.9 % For the Internet, royalties collected Audiovisual Private media including copying ADSL Physical media 24 x 3 million downloads and streams online a day. in 5 years.

14 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 15 Collecting

A popular repertoire for export Ranking second only to the Anglo-Ameri- can repertoire, Sacem repertoire continues Anticipating, inventing, adapting... to be popular the world over. Royalties Making the collection of royalties more efficient is the day-to-day from international sources amount to €82m (+ 2%) representing 10% of revenue ambition of the Network and Licencing Departments. collected. Sacem members’ works are particularly popular in Germany, Italy, Bel- gium and outside Europe in Japan and North America. In South America and the t €802.6m, Sacem collec- Asia-Pacific Region, they are major growth tions are down slightly in prime movers. “In a time of fragmentation of 2012 (–2%). This result is repertoires, this vitality beyond our borders is a quite satisfactory given the major asset,” comments Claude Gaillard, economic context which is International Affairs Manager. not favourable to growth. But, above all, we must look at the struc- Adapting to uses Ature of these collections: although the roy- Concerts and shows: The strength of Sacem’s regional network is in its alties from physical media continue falling dynamism confirmed territorial base and adaptability in seeking better to because of the record crisis (–30% in 5 With a 2.6% progression in 2012 (€273.2m, understand customers whose uses change. “Certain years), the sectors of ADSL, the Internet representing over one-third of collections), customer typologies did not exist a few years ago, and general rights (concerts, shows and the collection of general rights remains confides Patrick Fontana, Network Manager.For background music) remain particularly dy- one of the most dynamic sectors, in partic- example, music bars can be cafés, discotheques or namic. ular thanks to the vitality of live perfor- brasseries in turn, depending on the time of day. It is mances (10% of all rights). Live music in essential for us to adapt to these new forms of music 2012 meant 348 concerts and shows a day use, invent customer relations corresponding to these Audiovisual media and collections up 2%. This evolution changes.” The same is true for certain shops where Sacem’s top source of revenue, royalties makes the Network Department’s activi- playing music is a key element in their own customer from the media represent the sum of ties more strategic than ever. The regional relations. This operational commitment requires €305.1m in 2012, down 4.9% compared to network is pursuing its adaptation (pene- segmentation and studying the typologies of uses to 2011 ( 6% for television). This drop can be tration of new sectors, updating the new set up a scalable service policy. Pursuing the explained by the regularisation of rights prime mover and developing more produc- simplification of tariff policies is one of the main due for 2010 and 2011 by the France Télévi- tive relations with the users of Sacem rep- orientations: “Our aim is to set up a simplified sions Group, which generated a sharp rise The vitality of the Internet A udiovisual media ertoire). automated relationship for our clients, says Patrick in 2011 (not reproduced in 2012). This year, With €20.5m (+13%), the online sector reg- are the prime Fontana. This is the challenge for the project for royalties collected from public television istered the strongest growth in 2012. It rep- source of revenue. restructuring sacem.fr.” dropped by 19%. For all television channels resents 2.6% of all the Society’s collections. taken together, advertising revenue This trend is also supported by the will to dropped by 4.5% according to IREP (Insti- “anticipate business models, work out appro- tut de Recherches and d’Études Publici- priate tariffs and invent licences to correspond taires). Although revenue from radio re- to new uses,” specifies Cécile Rap-Veber, ck o mains stable overall, royalties collected Licensing Manager. This is accompanied t from public radio have slackened some- by work on harmonising metadata —es- what (-3%), while the strong decrease in the sential for identifying protected content advertising market has had a greater im- online— a fundamental challenge for the lli/Thinks o pact on private media. future of collective management, in which t It is essential for us to adapt to these new forms Sacem aims to play a major role. nni Ber nni

a of broadcasting, invent a customer relationship v which corresponds to these changes. a i d n

Patrick Fontana, Network Manager A / d a Francesco Gio Francesco a uc L © Bénar © © ©

16 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 17 Collecting

Connected media Sacem has adapted to the connected media which are gradually replacing physical Perspectives media (CD, DVD...). These are first of all Listening to music online, storage of works in smartphones tablets, but also smartphones with growing storage capacities, which support the (private copying), television over ADSL... Analysis of growing future of private copying. In France, 13.5 markets. million smartphones and 3.6 million tablets were sold in 2012 (source: GFK). De- spite a notable drop in revenue compared to 2011, which can be explained essentially flourishing (+4.9% growth in 2012 on the by the non-payment of levies owed by cer- posting of advertisements online accord- tain manufacturers and importers, the ing to IREP) represent a new growth en- private copy system has proven to be effec- gine for Sacem. tive in France since 1985 and remains a pillar in the support for creation in our country and throughout Europe. Major ADSL negotiations with manufacturers and im- Sacem has supported the development of porters should help secure its future by TV over ADSL by signing agreements reinforcing this lever which is not only with all operators. With over 22 million fair, but also acts as a growth vector. households equipped with ADSL, France is leader of TV broadcasting over ADSL: 13.7 million subscribers now enjoy this Online music service. Since Sacem collections depend With nearly 1.4 billion downloads and on the number of subscribers, this sug- over 7 billion streams recorded in 2012, gests favourable prospects for the future. the popularity of online music is obvious. The wholesale online music market represented €115m in 2012, an increase of nearly 15% in one year (source: SNEP). Despite the concentration of the market in the hands of a few players, including iTunes, new services continue to develop (Google Play...). The streaming model is also soar- ing (35% of royalties collected in this sector, compared to 65% for downloads), in particular through such services as Spoti- fy, which offer music offline, thereby making the boundary between these two hirteen years have passed the growth in ADSL subscriptions, the ex- E very day, modes of exploitation even more tenuous. already since the first sig- ploitation of content in the digital environ- 24 million Beyond the technical challenge of manag- > Focus nature with a legal down- ment offers notable growth levers. It is the exchanges ing billions of data, negotiations with the First tablets

load platform. Acts and duty of authors’ societies, starting with Sa- —uploads or different players in the online exploitation ck o

in 2010. t uses are being constantly cem, to adapt to this, both anticipating and downloads— of music are what will help support devel- ck o

reinvented. From the ex- stimulating trends to enable authors, com- of music and t opment of this sector. plosion in smartphone sales (13.5 million in posers and publishers to benefit in the long listening online Moreover, advertising investments on the

T2012, fourfold more than in 2009 –source: term from these changes despite all the take place Internet, especially in video formats, sup- urce/Thinks o S ra/Thinks GFK) to the transfer of television advertis- new technical, legal and economic obsta- in France. port the development of free services e u

t 3.6 g l a ing investments to the Internet including cles they engender. u funded by advertising. This market is million tablets sold in 2012 in France. m I C ure/ ure/ i i t t © Plain Pic © © Plain Pic ©

18 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 19 Distributing

“Music should humbly seek to please” Claude Debussy sneau he C © Marc Marc © Distributing

Figures for 2012 Trends

5,400 Growth in the number of members since 1851 145,000 3,800

70,000 31,000 x 2 30,000 from 1997 to 2012 60,800 221 145,000

1851 1970 1997 2012

44,000

Growth in five years of the number of new works filed(m€)

662.8 647 649.8 634.1 Breakdown of members by profession 602.6 + 10% from 2008 to 2012 Author-composers 60,800

2008 2009 2010 2 011 2012 Composers 44,000 Authors/authors of dubbing, sub-titling/humourists 31,000 Author-directors 3,800 Growth in five years of royalties distributed Publishers 5,400 1,100,000 1,000,000

690,000 617,000 524,000 x 2 from 2008 to 2012 3 ,014 10 2008 2009 2010 2 011 2012 works filed every day on average. new memberships a day on average.

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When the music is good... In 2012, €662.8m were distributed to authors, composers and publishers Billions of acts, millions (1) of works of music whose works were used or circulated. Sacem is focusing its efforts online first. With 164 million works identified in 2012 (449,300 works a day), the growth of dis- elevision is the main tributions is faced with new challenges: source of revenue for Sa- technical difficulties relative to the identi- cem members. Royalties fication of protected content and handling from shows, concerts and of the resulting volumes, as well as the C ascadeur. background music came in claims of CMOs on a European level. For second and international Membership Manager Louis Diringer, royalties are in third place. This trend is the challenge lies in “radical restructuring Tstimulated mainly by the progression of of information systems, documentation and general rights, starting with live perfor- management. We must strive to work in col- mances, as well as audiovisual media laboration with societies in the sector to de- which now represent 34% of royalties dis- velop tools able to find solutions for the frag- Finding solutions for the tributed. Television - traditional channels, mentation of repertoires and the increase in DTT, cable, satellite and ADSL - is pro- volumes to be processed.” fragmentation of repertoires gressing by 6% which can be partly explained by regularisations resulting from and the increase in volumes negotiations with France Télévisions In our members’ service (+26%), rather than an increase in reve- Starting in the autumn of 2013, to be processed.” nue from traditional channels in the pri- authors, composers and publishers vate sector, affected by the drop in adver- of music will be able to report their Louis Diringer, Membership Manager tising. works online, with the guarantee of Royalties distributed for radio dropped by having the same degree of control as Breakdown of author-composers 3% essentially because of late payment. on paper. This is one of the crucial according to their annual revenue in 2012 stakes in the restructuring of sacem. fr begun in 2012 and aiming to Members having A repertoire with appeal facilitate the reporting and received up to €1,000 2,600 General rights and the exploitation of re- consultation of increasingly precise data. Sacem PLUS, a range of corded music (background music, disco- Online: success to be managed Members having 11,000 theques) remain a stable source of royal- Downloading and streaming represent services and advantages, will offer received €1,001 ties (+1%) representing 22% of the rights 4% of rights distributed (compared to less members special rates negotiated to €15,000 distributed. than 1% in 2010). This dynamism is ac- in many fields: musical instruments, Rights from abroad rose 15%, confirming companied by exponential growth of the sound and IT equipment, Members having 48,000 34,400 the popularity of Sacem repertoire abroad. data to be processed and managed made accommodation... received over €15,000 At the same time, the phonograph sector more complex because of fragmentation These ambitious initiatives keep is pursuing its downturn (-10% compared of repertoires and rights. authors, composers and publishers The total amount to 2011). Beyond the figures, these changes reflect at the very heart of collective of royalties distributed the renewal of modes and uses of works. management, with obvious appeal: progressed by 3% They require tools for specific calculations 55,000 new members have joined compared to 2011; mean and management and appropriate Sacem since the year 2000! revenue per creator has (1) The royalties distributed correspond to rights thought for creators’ needs. also progressed (+5%) collected in 2011 and 2012. to reach €4,770. sneau sneau he he C C © Marc Marc © Marc ©

24 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 2 5 Distributing

Grands Prix Sacem Tops successes in 2012 On 26 November 2012, the Casino de Paris stage was dressed in a shower of stars.

Biggest hits in France in 2012 (ranked according to the amount of royalties distributed in 2012)

1. Party rock anthem – LMFAO. S. Gordy Husten/S. Gordy Kendal/D. Listenbee/P. Schroeder/Global Talent Publishing/Nu80’S Music Llc 2. Don’t stop the party – The Black Eyed Peas. Will I Am/A. Pineda/J. Gomez/D. Leroy/S. Ferguson/J. Alvarez/ Headphone Junkie Publishing Llc/Emi April Music Inc/Native Boy Music/Apl De Ap Publishing Llc/Bmg Sapphire Songs/I Am Composing Llc/Damien Leroy Music/Bmg Platinum Songs Us/Tab Magnetic Publishing 3. J’aimerais trop qu’elle m’aime – Keen’V. M. Evain/F. Vanvert/K. Bonnet/E. Lemoine/Yaz Prod 4. Hot summer night (oh la la la) – David Tavare. A. Crotti/L. Ricco/Lr Musikverlag/Emi Music Pub Germany/ Hanseatic Musikverlag 5. Rolling in the deep – Adele. P. Epworth/Melted Stone Publishing Ltd/Emi Music Publishing Ltd/Adele 6. Give me everything – Pitbull Feat Ne Yo & Afrojack. Ne Yo/Afrojack/Pitbull/Pen In The Ground Publishing/ + Sony Atv Songs Llc/Universal Music Z Tunes Llc/Afrojack Publishing To relive the ceremony 7. Man down – Rihanna. J. Shama/Theron Thomas/Timothy Thomas/L. Shontelle/R. Fenty/Reverb Music/Emi in pictures and Blackwood Music Inc/Annarhi Music Llc/Universal Music Corporation/T N T Explosive Publishing/Irving Music/ video, go to Sholay Music Llc/Merokee Music Jr sacem.fr. 8. Chérie coco – Magic System Feat Soprano. K. Boue Bi/A. Fanny/Soprano/N. Sodoua/S. Traore/B. Badji/P. Koeu/Emi Music Publishing France/Only Pro Publishing/Sekel 9. I gotta feeling – The Black Eyed Peas. D. Guetta/F. Riesterer/Will I Am/S. Ferguson/J. Gomez/A. Pineda/ riting, composing, pub- What A Publishing Limited/Rister Editions/Will I Am Music Inc/Cherry River Music Co/Headphone Junkie lishing... Music is an art. It Winners Publishing Llc/Tab Magnetic Publishing/Jeepney Music Inc is also a profession and Catherine Ringer • Sacem Special Prize 10. Rabiosa (English version) – Shakira Feat Pitbull. El Cata/Shakira/Pitbull/The Development Artist many dedicate their whole Camille • Grand Prize for French Song Management/Los Duenos Del Negosio Music Group/Sony Atv Discos Music Publishing Llc/Aniwi Music Llc/ lives to it. For these lives Richard Bona • Jazz Grand Prize 11. S&M – Rihanna. S. Wilhelm/Hermansen/M. Eriksen/E. Dean/Di Piu/Emi Mc Publishing Ltd/Dat Damn which blend passion and Gilles Amado • Film/Video Director’s Grand Prize Dean Music/Songs Of Peer Ltd uncertainty, awards ceremonies are true high- Tiken Jah Fakoly • Grand Prize for Traditional and Wlights in an artistic career. The Sacem Grand World Music 12. Mr Saxobeat – Alexandra Stan. V. Prodan/A. Nemirschi/Play On 911 Prix are of this type: authors, composers and Gipsy Kings • Grand Prize for Sacem repertoire 13. Sun is up – Inna. S. Barac/R. Bolfea/M. Botezan/Roton Inna publishers who are on the Sacem Board of Direc- abroad 14. Il nous faut – Elisa Tovati & Tom Dice. J. Mamann/C. Gabrie/T. Eeckhout/Because Editions/Pilotis tors pay tribute to the talent of those who allow Roland Magdane • Grand Prize for Humour 15. Who’s that chick – David Guetta Feat Rihanna. D. Guetta/F. Riesterer/G. Tuinfort/K. Hamid/What A music to live. Anaïs • Francis Lemarque Prize : Anaïs Publishing Limited/Rister Editions/2101 Songs/Piano Songs The winners then enter a world of winners which Éric Demarsan • Grand Prize for Film/Video Music 16. Price tag – Jessie J Feat Bob . J. Cornish/L. Gottwald/C. Kelly/B. Simmons/Sony Atv Music Publishing include artists as different as Allain Leprest and Universal Music Publishing France Limited (Uk)/ Songs Of Universal Inc/Ham Squad Music/Studio Beast Music/Warner Tamerlane Publishing Co/ Henri Dutilleux, David Guetta and Alain (Jean-Philippe Allard) • Grand Prize for Music Kasz Money Publishing/Prescription Songs Llc Souchon... Besides their talent, what they have in Publishing 17. Elle me dit – Mika. M. Penniman/L. Lescarret/Mika Punch/Irving Music/Wagram Publishing/Johnny Flyer common is their authors’ society: Sacem. Éric Tanguy • Grand Prize for Symphony Music Music The winners in 2012 once again illustrate this (career) fine diversity of repertoires. The winning artists Fabien Waksman • Grand Prize for Symphony 18. Hello – Yannick Noah & Asa. J. Veneruso/C. Battaglia/Etoudi Editions/Musicalement Votre offered the audience attending the Grand Prix Music 19. Someone like you – Adele. D. Wilson/Chrysalis Music/Sugar Lake Music Llc/Melted Stone Publishing ceremony a show of the finest quality highlight- Justice • Grand Prize for Electro Ltd/Adele ing the wealth of the Sacem repertoire. Sexion d’assaut • Rolf Marbot Prize for the song 20. Soulman – Ben L’Oncle Soul. G. Lesieur/Ben L’Oncle Soul/F. Chellaoui/Tipping Music of the year Avant qu’elle parte

Members Sacem sneau sneau he he C C © Marc Marc © Marc ©

26 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 2 7 Being assertive

“Music above all else” Paul Verlaine sneau he C © Marc Marc © Being assertive

Figures for 2012 Top successes abroad

Biggest hits abroad (for exploitation in 2011) 1. Comme d’habitude – Claude François, Franck Sinatra, Paul Anka… C. François/J. Revaux/G. Thibaut/ Nouv Barclay/Jeune Musique Éditions 12% 2. I gotta feeling – Black Eyed Peas. D. Guetta/F. Riesterer/Will I Am/S. Ferguson/J. Gomez/A. Pineda/ authors and composers, members Growth 2011-2012 What A Publishing Limited/Rister Editions/Will I Am Music Inc/Cherry River Music Co/Headphone Junkie Sacem, are foreign nationals. 3. Les feuilles mortes – Yves Montand… J. Kosma/J. Prévert/J. Enoch/Enoch Cie of royalties paid to Sacem 4. Hello – Martin Solveig, Dragonette. M. Solveig/M. Sorbara/Temps d’Avance/Emi Music Publishing France/ for the exploitation of its Dragonette Publishing inc repertoire by continent 5. YMCA – Village People. H. Belolo/J. Morali/V. Willis/Black Scorpio 6. Alors on danse – Stromae. Because Art/Kilomaitre Publishing/Mosaert/Stromae South America 7. The club can’t handle me – Flo Rida feat David Guetta. D. Guetta/F. Riesterer/G Tuinfort/M. Caren/K. Carmen / Florida/K. Livingston/What A Publishing Limited/Riesterer Frederic/Kobalt Music Services America +24% Inc/Sony Atv Tunes Llc/Bug Music Inc/Carmen Michelle Music 163 nationalities represented. A frica and Middle East 8. La vie en rose – Édith Piaf… É. Piaf/Louiguy/Éditions Beuscher 9. Memories – David Guetta feat Kid Cudi. D. Guetta/F. Riesterer/Kid Cudi/What A Publishing Limited/Rister Editions/Elsie S Baby Boy +20% 10. Roméo et Juliette opus 64 – Serge Prokofieff/Le Chant du Monde 158 A sia-Pacific Members Sacem representation agreements signed +8% with foreign authors’ societies. Europe +1% Sacem repertoire exported N orth America to ten countries (in m€) -4% Germany i

10.4 K t S t n I aly w Belgium e U ited ngdom S itzerland Japan N therlands 6.5 6.4 6.2 n U ited ates 5.8 5.7 5.5 a p C nada

4.2 S ain 3.6 3.1 2ndrepertoire for export only to the Anglo-American repertoire. 1 2 3 4 5 6 7 8 9 10 sneau he C © Marc Marc ©

30 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 31 Being assertive

ages the presence of its members all over the world. This is a key step for the management of rights in a zone where nearly New horizons 5,000 of its members are located, while Projects for the future and opening up to the world! Sacem is contributing to the emergence of new talent. further reinforcing its relations with major partners abroad and developing initiatives with players in global music. Close-up of Armonia: a response to the three innovative projects. fragmentation of repertoires Armonia is the first European portal for licensing online services. Launched in autumn 2012 by collective management societies in France (Sacem), Italy (Siae) and Spain (Sgae), this one-stop-shop encourages the granting of pan-European licences to online music platforms. Thus, it authorises use of the repertoires represented by its founding members (5.5 million works) in over 30 European territories. The members of Armonia signed their first agreement with Google offering access for its different services, Google Music Play, Locker and Subscription, to the repertoires of Sacem, > Focus Sgae, Siae, Umpi, Sony Latino, Peer Latino and Spa all over Europe and even beyond, Armonia in figures since over fifty other countries throughout the world are also included in this agreement. By accelerating the evolution of this 5.5m offering, Armonia illustrates this will to support the development of digital media works. worldwide. 31 countries.

A rmonia, Yala: the world at our threshold Kuwait, Oman, Qatar, Yemen, Iran, Iraq, an online Signed in 2012, the agreement with Yala Jordan, Lebanon, Syria and Palestine. exploitation Backstage, a platform dedicated to artists This agreement aims to encourage the de- platform wishing to promote, distribute and mone- velopment of the online music market in in over thirty tise their works in the Middle East and France and globally. Over 200 agree- European North Africa was signed in January 2013. ments haves already been concluded be- countries. This contract enables Yala Music to offer tween Sacem and online services for the its service to web users in North Africa legal exploitation of millions of musical and the Middle East: Libya, Mauritania, works accessible according to free or paid + Tunisia, Djibouti, Ethiopia, Sudan, Saudi content models. More information Arabia, Bahrain, United Arab Emirates, With this new agreement, Sacem encour- at www.armoniaonline.com sneau sneau he he C C © Marc Marc © Marc ©

32 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 3 3 Being assertive

This levy is far from harming those who complain about it: without creators, without works and without music, there would Defending private copying and protecting creation be no need for devices to making private A virtuous system enforced in 25 of the 27 countries in the European Union, copies! private copying has been under violent attack from importers who would like to see it disappear to improve their margins. For nearly 30 years, this system of Sacem in the vanguard These attacks emanate most often from public interest has demonstrated that it is essential for creation. economic players outside our national territory, since the manufacturers of devices concerned by the levy are usually located abroad (China, India, South Korea...). The stakes involved in mobilising to defend private copying are crucial, whether to supporting creation, economic survival of many cultural events and maintaining tens of thousands of jobs. Sacem is in, the vanguard of this struggle. So music can We Were Evergreen. live on! A system under threat The sizable drop in the amount collected by Copie France (-5% in 2012) is a sign of gathering clouds casting a shadow on private copying. Many equipment makers and importers are challenging the cogen- cy of what they wrongfully denounce as a tax, in particular before the Court of Jus- tice of the European Union. In fact, this is not a tax, but compensation based on an economic rationale which is crystal-clear: since users benefit a priori from the au- his system, devised in Ger- while 25% goes to initiative promoting DJ Pee, thorisation to make copies –a notable ex- many in the early 1960s creation, broadcasting live performances Le Peuple de ception to traditional authors’ rights– it is and adopted in France in and professional training for musicians. l’Herbe, Solidays quite normal that manufacturers and im- 1985 (Lang Law) allows in- In 2012, Copie France, the organisation in 2012. porters of the equipment necessary for dividuals to copy works for charge of collecting the levy from those making such copies, who derive substan- their own private use when liable, collected €173.9m, including €51.3m tial benefits from this situation, contrib- they have been legally acquired. In return, distributed by Sacem. Despite its great val- ute in order to support creators in their Twhen purchasing storage media (hard ue since it guarantees our country’s cul- turn. drives, USB memory stick, as well as tab- tural diversity and artistic vitality, private > Focus lets or smartphones), a small part of the copying is under threat from electronic purchase price goes directly to creation. equipment manufacturers and importers Nadeah, Solidays 2012. This levy is redistributed to creators, art- who would like to see it dismantled, there- ists, publishers and producers in all sec- by endangering an important part of sup- 2.4% esneau tors of musical, audiovisual, written, port for cultural activities. In 2012, over of the turnover of recording equipment importers in France (in the markets concerned: computers, h C graphic and artistic creation. 75% of the 5,000 events received support thanks to telephones, external hard drives, mp3 players, tablets, DVDs, USB flash drives, CDs and memory sums collected are paid directly to them, the contribution of private copying. cards); this is what provides revenue for private copying. sneau he C ha p a R © © Marc – Daniel el © Marc Marc ©

34 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 3 5 Bringing support

“Music gives a soul to the universe and wings to the mind.” Plato sneau he C © Marc Marc © Bringing support

Cultural Projects: > Focus young creators’ favourites Sacem rolls out a policy of support to creation, one of the largest of all authors’ €19.3m societies. Such is the budget for Cultural Projects in 2012. Support for all the or 50 years, Sacem has been Supporting creation great repertoires of living music preparing fertile ground for to- Supporting creation mobilises 35% of the (Contemporary Music, poetry, morrow’s creations by support- resources allocated by Cultural Projects audiovisual music, Musiques Actuelles). ing artistic careers, stimulating (€5m in 2012). This includes in particular the exploitation of works and enhancement initiatives (direct aid to facilitating the integration of members), also used as part of support for young professionals. Our position between creators of music for cinema and televi- Fcreators and broadcast markets make us all sion, producers of films or documentaries the more relevant, appropriate and virtu- about music, recording live concerts... Aid C harles-Baptiste. ous. Indeed, if supporting careers directly for phonogram production (1 DVD and 45 benefits creators and artists, it also benefits CD), self-produced recordings (73 projects producers, festivals and concert halls supported), music information structures which similarly schedule these artists and and direct support for artists (residences, present these new projects. Truly a wager aid for career development) also mobilised Stimulating broadcasting for the future: “It is a matter of promoting a large part of these resources. “Supporting creators without being concerned passing on the torch between confirmed cre- As such, Aid for Career Development is a with broadcasters would be meaningless,” em- ators and those of tomorrow, encouraging the major orientation for activity in the sector phasises Olivier Bernard. Concert hall are emergence of young authors and securing fu- of Musiques Actuelles. In 2012, essential venues where artists can forge ture creation,” comments Olivier Bernard, Charles-Baptiste, Philippe Uminski, Vieux ties with audiences and festivals receive By bringing us their Cultural Projects Manager. Farka Touré, C2C and Frànçois & the Atlas special attention. In 2012, support for live For a decade, Sacem has provided assis- Mountains received this support. performances mobilised 50% of resources support, Sacem enabled us tance of up to €100m for over 15,000 artis- for Cultural Projects, for a total of €7.5m, a tic projects. This support was augmented large part of which (€2.5m) goes to Region- to launch the machine.” by a contribution from the private copy levy al initiatives. And Sacem strives to promote and our own equity. the exploitation of the works of Franco- C2C phone artists well beyond our borders by actively participating in the work of the French Music Export Office, European Music Office, Zone Franche and Franco- phonie Diffusion.

Training creators Sacem rolls out a programme Communicating... of assistance to training organisations In 2012, Sacem supported some fifteen works taking initiatives in favour of young on music. Jazz, vocal, history of music, artists... creators (writing, composition, L

an essential contribution to the circulation musical IT), with a budget Y of musical culture. of €1m (7%) in 2012. S Aline. a ka – 20 20 – ka v k y A P in- d w r A Daar © © nau

38 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 3 9 Bringing support

A model for international cooperation Sacem Action Fund: sponsoring The Franco-American Cultural Fund (FACF) resulted from an agreement signed in 1996 between Sacem, the Directors Guild of America and Writers all musical genres Guild of America and the Motion Picture Association of America representing The Sacem Action Fund (Fas) leads to a diversified sponsorship policy. producers. Funded mainly by resources from private copying, it provided support for projects by advising their instigators and participating in the promotion and logistics of their initiative. Commissions from composers All year long, Fas commissions works from young composers and follows up these projects until they are premiered. In unded thanks to resources 2012: Giani Caserotto, Pierre Jodlowski, from private copying, FACF Jonathan Pontier, Alexandros Markeas has several goals: teaching the and Julien Dassié (Cabaret Contempo- art of cinema, promoting ex- rain), Johannes Maria Staub (Salzburg changes between French and Festival), Orchestre Symphonique Diver- American cinema and encour- timento (opening the season at Cité de la aging dialogue between professionals in Musique). Fboth countries. FACF created and has organised every year since 1997, ColCoa, the Toute la Mémoire du Monde first French Film Festival in the United Festival La musique pour tous Talents Jazz States. The Fund is also recognised for re- In 2012, FACF joined forces with the Education to the Arts is a priority for Fas. Fas supports young jazz artists to encour- storing old films. With the Film Founda- Cinémathèque Française to create a new In constant search of new audiences, it age their access to professional life and tion, chaired by Martin Scorsese, and the yearly event: the International Restored undertakes concrete awareness cam- help their career development. In 2012, Cinémathèque Française, it gives finan- Film Festival, Toute la Mémoire du paigns and musical training, as attested Richard Manetti, Fiona Monbet and cial support for restoring French and Monde. The first Festival opened with Ro- by “Jeune Public” concerts held at Théâtre Émile Parisien received this support. American films every year: La Baie des man Polanski’s film Tess, shown in the du Châtelet, initiatives targeting schools Anges (J. Demy) and La Belle et la Bête (J. director’s presence. In all, the forty organised at the Opéra-Comique and ac- Cocteau) in 2012. screenings with eclectic programming, tivities at Espace Ado in the Centre Pom- including many restored works never be- pidou. All these action supported by Fas Three major events in 2012 fore shown in France attracted large audi- provide opportunities for meeting artists ence every day. and professionals. Fas also organises workshops with partnering orchestras City of Lights, City of Angels (Lille, Avignon...). In schools and socio- Heritage In April, in a very favourable context for Rencontres cultural centres, for example, all over In 2012, FAS was a partner in French cinema after la nomination of two Cinématographiques ARP France, these workshops take different exhibitions: Django Reinhardt, Swing French films at the Oscars and the tri- For the 22nd year, this event was chaired forms and target children and teenagers. de Paris (Cité de la Musique), Paris en umph of The Artist, Los Angeles hosted by the author, director and producer Rob- We can make note of the creation, in 2012, Chanson (Hôtel de Ville), the 16th ColCoa, with fifty short and fea- ert Guédiguian. It promotes solidary ac- of Cinémusique which offers mu- documentaries —Il est minuit Paris ture films in the competition. Flo- tion and close collaboration between sic-awareness through cinema to second- s’éveille (Arte) and Jean-Jacques rent-Emilio Siri’s film Cloclo opened the French, European and American film and ary-school students in Seine-Saint-Denis. Rousseau, musicien (TV Monde) — as Festival, while Éric Toledano and Olivier audiovisual professionals and the public Workshops are also organised hospitals, was as the Andrée-Chedid Poetry Nakache’s very popular Intouchables authorities, with international debates on prisons and geriatric institutions. Contest. closed the competition. the profession and cultural exchanges. R n –Dn a f e St o Ig © © r

40 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 41 Managing

“Without music, life would be an error.” Friedrich Nietzsche sneau he C © Marc Marc © Managing

Governance Sacem is a Collective Management Society, founded and managed by its members: Authors, Composers and Publishers of Music. The year 2012 represents a transition in terms of governance. Who manages Sacem?

The society’s main decision-making body, author-director and one deputy (author-di- Authors elected by the members at the Annual rectors are elected for two years). The General Assembly, the Board of Directors, Boards makes all key decisions for Sa- convened General elect Three statutory one-third of which is renewable every cem’s life and appoints the CEO, entrust- Compositors in the Assembly committees year, comprises six authors, six composers ed with implementing them. and six music publishers, one permanent – Programmes Publishers – R.321-6-3 of the CPI – Accounts and surveillance elect to verify to

appoints appoints Four regulatory Board General committees of Directors Management

– Audiovisual – Author-directors – Symphonic music – Variety

In the foreground, from left to right: Jean-Marie Moreau, Alain Chamfort, Jean-Claude Petit, Patrick Lemaitre, Gilles Amado, Dominique Pankratoff, Frédéric Zeitoun, Halit Uman et Serge Perathoner. Standing, from left to right: Nicolas Galibert, Richard Seff, Bruno Lion, Caroline Molko, Wally Badarou, Sylvain Lebel, Christine Lidon, Jean Fauque, Donald Kent, Nelly Querol et Jean-Marie Salhani. s è g i L © onel Pa

44 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 45 Managing

New management

On 20 June 2012, Jean-Noël Tronc was ap- Statutes, the Directoire becoming the pointed to succeed Bernard Miyet as CEO. General Management, as in most other The future There resulted a change in governance, authors’ societies. offers considerable with in particular changes in Sacem’s challenge. We must learn to cover hybrid uses and Revising devise appropriate solutions.” our customer policy, repositioning Cécile Rap-Veber, Licensing Manager our offering, making it more comprehensible to customers like authors, composers and publishers CEO: of music: such is the goal Jean-Noël Tronc of our network.” Patrick Fontana, Network Manager

Secretariat Strategic International Information Membership Licencing Network General: Resources Affairs Systems Department: Department: Department David El-Sayegh Department: Department: Department: Louis Diringer Cécile Rap-Veber Patrick Fontana on 1 July 2013 Christophe Waignier Claude Gaillard Véronique Sinclair

Institutional Communications Cultural Projects Relations Department: Department: Department: Catherine Boissière Olivier Bernard Blaise Mistler

Our staff are committed to producing At the international level, increasingly efficient Sacem acts somewhat like We must be information systems a magnetic needle indicating on the cutting edge of future to facilitate and improve the right direction.”

developments not only to operational teams’ daily work.” Claude Gaillard, l

Restructuring our information International Affairs Manager e

Véronique Sinclair, t

keep up with them but also r a

systems is the major challenge. Information Systems Manager b

to anticipate and stimulate as

We must develop appropriate m them.” Christophe Waignier, Strategic Resources Manager. tools in a world recomposed for online uses.”

46 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 47 Managing

Sacem: supervision and transparency Few private organisations are subject to controls as constant and detailed as those imposed on Sacem.

With over 90% of spontaneous recogni- which validates statutory changes, by Par- tion (according to a BVA survey in June liament which supervises Cultural Proj- 2012), Sacem is both well-known and ects, by the Cour des Comptes (Revenue poorly known, particularly regarding its Office) which verifies every year through role and how it functions. This is a para- the Commission Permanente de Contrôle dox for a society subject to the quintuple des SPRD (a standing committee for au- surveillance: by an independent auditor, diting CMOs) and, finally, by weekly in- like all private organisations, by the Min- ternal auditing to examine all Sacem op- istry of Culture and Communication erating expenses.

How is Sacem audited?

Annual external verification Internal audits annual

Statutory auditor General Assembly

weekly Cour des Comptes Accounts Committee Commission de Contrôle des SPRD periodic Ministry of Culture Remunerations Committee and Communication Creation in 2011

Internal Audit National Assembly and Senate and Controls Department New! Cultural Affairs Commissions Creation in 2013 “SAC EM PLUS”: a programme of exclusive services

Periodic external audits and advantages for Sacem members.

Urssaf Open to everyone: authors, composers and publishers.

Tax Authorities Activate your programme online, with just a few clicks from your special page at sacem.fr.

48 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 49 S acem in 300 questions... and the same number of answers.

e S acem – Non-trading company with variable capital – 775 675 739 – RCS Nanterre – Graphic design: 21x29.7 – Cover photo: Agencyby/ t r – Thinks –

o Thinkstock – Printed with natural plant ink by Grafik Plus (Imprimerie “Imprim’vert”) – Sustainably contributes to forest resources.

50 > Sacem Activity Report 2012 >> > Sacem Activity Report 2012 >> 51 225, avenue Charles-de-Gaulle 92528 Neuilly-sur-Seine Cedex France sacem.fr