2012 - la sacem · 2 > sacem activity repo rt 2012 >> > sacem activity repo rt 2012...

2012Activity Report

Society of AuthorS, compoSerS And muSic publiSherS

> Sacem Activity RepoRt 2012 >> 3 2 > Sacem Activity RepoRt 2012 >>

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04 editorial06 Panorama10 Profile

Collections14 Trends – Figures for 2012 16 anticipating, inventing, adapting... 18 Prospects

Distribution22 Trends – Figures for 201224 When the music is good... 26 Top successes in 201227 sacem Grand Prix

Being assertive30 Top success abroad – Figures for 201232 new horizons34 Defending private copying and protecting creation

Bringing support38 cultural projects:

the winners with young creators 40 sacem action Fund:

sponsoring all musical genres41 a model for international cooperation

Managing44 Governance46 new management48 sacem: supervision and transparency

contents

4 > Sacem Activity RepoRt 2012 >> > Sacem Activity RepoRt 2012 >> 5

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Is there a Sacem quality which must be given special attention?Transparency! Sacem is a society which undergoes many controls both internally and externally. This is something that is very poorly known. It is our job to make it known. An Auditing and Internal Control Department was created to complete the establishment of a Remunerations Committee validating the Management team’s salaries. My own remuneration is public knowledge and can be consulted on the sacem.fr website.

Before describing this action plan, can you tell us your first impression when you discovered Sacem?My first impression, even before joining the Society, and which has been recon-firmed since, was that Sacem has many assets: the largest membership base in Eu-rope which ranks second worldwide (145,000 members in 2012), the highest level of general rights per capita in the world, powerful accurate measurement tools for distribution (80% of distributions per programme), a central place in music in France (56% spontaneous recognition and 92% assisted recognition according to a BVA survey in July 2012), and carries a strong institutional weight. It is also for us to make the best of these assets to make Sacem the top European authors’ society in the Digital Age.

Can you tell us about the main priorities for Sacem’s different Departments?In order to be as efficient as possible, it was first decided to create a Strategic Resources Department as well as an International Af-fairs Department and place the regional network and its staff under the responsibil-ity of General Management. A new strate-gy was set up concerning IT issues to make Sacem tools operational internationally, whether it be licensing (launch of Armonia with stabilised governance and operations) or data processing. Support functions, for finances and human resources in particu-lar, have also been modified to improve cross-cutting and the efficiency of work in project mode.

At the heart of musicAs CEO of Sacem since June 2012, Jean-Noël Tronc reviews a year rich in accomplishments.

What other initiatives are being considered?Services to authors, composers and pub-lishers are one of the priorities of our ac-tion through a project dubbed “Sacem PLUS” which aims to simplify procedures for our members and enrich the services Sacem wishes to provide them. Services linked to distribution will thus be simpli-fied and dematerialised and a new card was launched to offer members access to a pro-gramme of advantages.

What would you propose in the future to improve a society and a system whose performance levels are already well recognised in the world?Sacem is a very efficient society, but we are facing a challenge to the very principles of copyright and authors’ rights. There is a ground swell which has arisen in the past fifteen years worldwide and which affects France and Europe, too. The activities of authors’ societies are increasingly subject 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 ecosystem in France, our Society under-goes recurrent attacks against its missions and its organisation, kept up by a profound ignorance of its functions and role in the service of creators and publishers. In an in-creasingly competitive situation, Sacem must also strive to reinforce its effective-ness to preserve and attract creators and great repertoires, in full respect in the fun-damentals that give it its specificity.

2012 was a year of transition for Sacem. How would you sum up this first year as new CEO?The year 2012 was characterised first by a change in governance. I took over manage-ment of the Society on 20 June 2012, fol-lowing the General Assembly with the ex-ecutive body (former “Directoire”) becoming a Management Committee.My arrival with my new team led to strate-gic reflection in connection with the Board of Directors and a new action plan for the Society.

Sacem has the largest membership base in Europe, the second worldwide.”Jean-Noël Tronc

editorial


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JF Gang.

Panorama

JanuarySignature of an agreement with Creative CommonsFirst agreement signed by creative commons with an authors’ society in France for non-commercial broadcasts. it enables sacem members to promote their works in a non-commercial framework and combines the use of non-commercial licences proposed by creative commons and sacem collection and distribution methods. March

Festival international du film d’Aubagnea venue for creation and meetings, this festival encourages fruitful exchanges between professionals and young creators.april

Launch of the Musique Prim’ websiteThis educational tool born of the partnership between national education and the Tous Pour la Musique association targets school teachers to offer access to a hundred or so musical and audiovisual works to illustrate music education programmes.

Printemps de Bourgessacem presented its live performance indicators and an unpublished study on Festivals in France.

JuneSignature of an agreement with France Télévisionsa single agreement replaces and simplifies the various agreements previously applicable to each channel. it adapts the remuneration of sacem rights holders to France Télévisions’s funding structure and covers the use of works from sacem repertoire whether for broadcast on France Télévisions channels and radio stations or for free digital uses.

Election of the Board of Directors, appointment of the CEOat extraordinary and ordinary General Meetings, sacem members ratified the Board of Directors’ proposal to change the society’s statutes to simplify organisation and operations. The Directoire became a General Management. The new Board of Directors, chaired by laurent Petitgirard, chose Jean-noël Tronc to be the ceo.

Scène Sacem Internationale, Francofolies de Montréalsacem and les Francofolies de Montréal have joined forced to hold every year a scène sacem internationale. Thus, a line-up of artists receiving career support (Vendeurs d’enclumes and Yves Jamait in 2012) is presented to the canadian professional industry.

FebruaryLudovic Bource wins an Oscarsacem member ludovic Bource composed the score for the film The Artist. The role of music was determinant in this historic success story in which a French film was awarded the oscar for Best Picture for the very first time in eighty-four years.

MayIommaan international sacem stage brought together three artists from reunion island (JF Gang, Toguna and christine salem) having received aid from sacem (self-production, stage production, career support).

Musicorasacem organised two concerts for this classical and contemporary Music event, as well as a round table with les Jeunesses Musicales de France.

La Musique fait son cinéma à Cannesa partner of “Talents cannes” present at the cannes soundtrack Pavilion, sacem is committed year round to encouraging music for images.

Jeanne cherhal, scène sacem création, Francofolies 2012.


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September-December Chantiers des Francos tourTwelve talents from chantier des Francos made their way to six French cities! at sacem’s instigation, les Francofolies and halls presenting Musiques Actuelles, this tour highlighted young artists.They included: nevchehirlian, claire Denamur, Mustang, rover, We Were evergreen, christine and the queens, Théodore, Paul & Gabriel, Buridane, Maia Vidal, cabadzi, Ben Mazué, Frànçois & the atlas Mountains...

June-July Les Nuits de FourvièreThree artists having benefited from the career assistance programme were scheduled to open the concert during the Festival (Vieux Farka Touré opening for Yannick noah, c2c opening for Metronomy and François & the atlas Mountains opening for camille).

october Launch of MonProjetMusique.fra 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’ societies and professional organisations).

November France Musique-Sacem Prize for film musicGiven out during a soiree at le Trianon, this prize rewards film music. The winner then received a commission from radio-France which will premiere the following year in a performance by the radio-France Philharmonic orchestra. in 2012, the Polish composer Paweł Mykietyn was rewarded for the original soundtrack of Jerzy skolimowski’s film Essential Killing.

Armonia launcharmonia, the first european portal for licensing online services, has been launched and signed its first agreement with Google to have access to the repertoires of sacem, sgae, siae, umpi, sony latino, Peer latino and spa: the largest repertoire in the world.

Lescure Mission Proposalslaurent Petitgirard, chairman of the Board of Directors, and Jean-noël Tronc, ceo, presented a set of proposals for the mission conducted by Pierre lescure on act 2 of the cultural exception.its objectives: promoting access for everyone to culture in general and music in particular, and promote modern regulations for the digital culture.

September-October Musicasacem supports this contemporary Music Festival with, in particular in 2012, programming on the theme of america and ensembles in europe.

JulySéries, Séries (Fontainebleau)Desirous of granting a choice place for composers, sacem is mobilised to emphasise the importance of original music and soundtracks for television series.

Festival Les Suds (Arles)sacem brought its support to a concert at the Musée Départemental antique, with the cellist and composer Vincent ségal, trained in the conservatoire.

DecemberNew tariffs for private copyingDespite many attempts at blockage on the part of electronic equipment manufacturers and importers, the committee for remuneration of private copying succeeded in adopting new tariffs. This struggle turned in favour of authors, performers, producers and publishers of musical, audiovisual, written and visual works.

Grands Prix Sacem read more about this ceremony on page 29.

Frànçois and the atlas Mountains.


Profile

100%80%

11%

9%

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1.1 million new works filed each year, including 152,350 sacem works.

€802.6mcollected from

620,000clients ou utilisateurs de musique.

15.4 % This is the percentage of administrative costs.

€19.3m dedicated to cultural Projects.

145,000 members, with 4, 000 new members every year.

over

70 million French and foreign works represented in all musical genres (song, rock, jazz, film scores and advertising, humour, video clips...).

over

70locations in Paris and in French regions.

Founded in 1851 by authors, composers and publishers of music, sacem is a private non-profit organisation.

it has three main missions:

Collecting and distributing royalties for authors, composers and publishers from France and all over the world whenever their works are used.

Defending and representing authors, composers and publishers in France and abroad.

Promoting and supporting creation in all its diversity.

Method of distribution of royalties

The royalties collected are distributed as closely as possible to the actual use of the works.

Work par work

By survey

By consumption habits

in 2012

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Collecting

“Of an author, all that counts are the works.” Italo Calvino


Collecting

802.6

-11.9%

-4.9% -5%

+2% +2.6%

+13%

Variation 2011-2012 of collections by sector

Five-year trends in collections (in €m)

Distribution of collections by sector (m€)

0

762.3755.8

819.6 819.4 802.6

Physical media

audiovisual media including

aDsl

Private copying

international

General rights

internet

For the internet, royalties collected

x 3in 5 years.

24million downloads and streams online a day.

TrendsFigures for 2012

2008 2009 2010 2011 2012

+6% between 2008 and 2012-2% between 2011 and 2012

audiovisual media €305.1m > Television €216.7m radio €51.6m

aDsl €36.8m

General rights €273.2m > concerts, shows, dance €137.2m

Background music, discotheques €117.5m cinemas €18.5m

international €82m

Physical media (phono, video) €70.5m

Private copying €51.3m

internet €20.5m

Sub-sectors

Sectors

216.7

36.8

51.6

137.282

117.5

18.5

70.5

305.1

51.3

273.

2

20.5


Collecting

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A popular repertoire for exportRanking second only to the Anglo-Ameri-can repertoire, Sacem repertoire continues to be popular the world over. Royalties from international sources amount to €82m (+ 2%) representing 10% of revenue collected. Sacem members’ works are par-ticularly popular in Germany, Italy, Bel-gium and outside Europe in Japan and North America. In South America and the Asia-Pacific Region, they are major growth prime movers. “In a time of fragmentation of repertoires, this vitality beyond our borders is a major asset,” comments Claude Gaillard, International Affairs Manager.

Concerts and shows: dynamism confirmedWith a 2.6% progression in 2012 (€273.2m, representing over one-third of collections), the collection of general rights remains one of the most dynamic sectors, in partic-ular thanks to the vitality of live perfor-mances (10% of all rights). Live music in 2012 meant 348 concerts and shows a day and collections up 2%. This evolution makes the Network Department’s activi-ties more strategic than ever. The regional network is pursuing its adaptation (pene-tration of new sectors, updating the new prime mover and developing more produc-tive relations with the users of Sacem rep-ertoire).The vitality of the Internet

With €20.5m (+13%), the online sector reg-istered the strongest growth in 2012. It rep-resents 2.6% of all the Society’s collections. This trend is also supported by the will to “anticipate business models, work out appro-priate tariffs and invent licences to correspond to new uses,” specifies Cécile Rap-Veber, Licensing Manager. This is accompanied by work on harmonising metadata —es-sential for identifying protected content online— a fundamental challenge for the future of collective management, in which Sacem aims to play a major role.

Anticipating, inventing, adapting... Making the collection of royalties more efficient is the day-to-day ambition of the Network and Licencing Departments.

Adapting to usesThe strength of Sacem’s regional network is in its territorial base and adaptability in seeking better to understand customers whose uses change. “Certain customer typologies did not exist a few years ago, confides Patrick Fontana, Network Manager. For example, music bars can be cafés, discotheques or brasseries in turn, depending on the time of day. It is essential for us to adapt to these new forms of music use, invent customer relations corresponding to these changes.” The same is true for certain shops where playing music is a key element in their own customer relations. This operational commitment requires segmentation and studying the typologies of uses to set up a scalable service policy. Pursuing the simplification of tariff policies is one of the main orientations: “Our aim is to set up a simplified automated relationship for our clients, says Patrick Fontana. This is the challenge for the project for restructuring sacem.fr.”

At €802.6m, Sacem collec-tions are down slightly in 2012 (–2%). This result is quite satisfactory given the economic context which is not favourable to growth.

But, above all, we must look at the struc-ture of these collections: although the roy-alties from physical media continue falling because of the record crisis (–30% in 5 years), the sectors of ADSL, the Internet and general rights (concerts, shows and background music) remain particularly dy-namic.

Audiovisual mediaSacem’s top source of revenue, royalties from the media represent the sum of €305.1m in 2012, down 4.9% compared to 2011 ( 6% for television). This drop can be explained by the regularisation of rights due for 2010 and 2011 by the France Télévi-sions Group, which generated a sharp rise in 2011 (not reproduced in 2012). This year, royalties collected from public television dropped by 19%. For all television channels taken together, advertising revenue dropped by 4.5% according to IREP (Insti-tut de Recherches and d’Études Publici-taires). Although revenue from radio re-mains stable overall, royalties collected from public radio have slackened some-what (-3%), while the strong decrease in the advertising market has had a greater im-pact on private media. It is essential for us to adapt to these new forms

of broadcasting, invent a customer relationship which corresponds to these changes.Patrick Fontana, Network Manager

audiovisual media are the prime source of revenue.


Collecting

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Connected mediaSacem has adapted to the connected me-dia which are gradually replacing physical media (CD, DVD...). These are first of all tablets, but also smartphones with grow-ing storage capacities, which support the future of private copying. In France, 13.5 million smartphones and 3.6 million tab-lets were sold in 2012 (source: GFK). De-spite a notable drop in revenue compared to 2011, which can be explained essentially by the non-payment of levies owed by cer-tain manufacturers and importers, the private copy system has proven to be effec-tive in France since 1985 and remains a pillar in the support for creation in our country and throughout Europe. Major negotiations with manufacturers and im-porters should help secure its future by reinforcing this lever which is not only fair, but also acts as a growth vector.

Online musicWith nearly 1.4 billion downloads and over 7 billion streams recorded in 2012, the popularity of online music is obvious. The wholesale online music market repre-sented €115m in 2012, an increase of near-ly 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 sec-tor, compared to 65% for downloads), in particular through such services as Spoti-fy, which offer music offline, thereby making the boundary between these two modes of exploitation even more tenuous. Beyond the technical challenge of manag-ing billions of data, negotiations with the different players in the online exploitation of music are what will help support devel-opment of this sector.Moreover, advertising investments on the Internet, especially in video formats, sup-port the development of free services funded by advertising. This market is

T hirteen years have passed already since the first sig-nature with a legal down-load platform. Acts and uses are being constantly reinvented. From the ex-

plosion in smartphone sales (13.5 million in 2012, fourfold more than in 2009 –source: GFK) to the transfer of television advertis-ing investments to the Internet including

PerspectivesListening to music online, storage of works in smartphones (private copying), television over ADSL... Analysis of growing markets.

flourishing (+4.9% growth in 2012 on the posting of advertisements online accord-ing to IREP) represent a new growth en-gine for Sacem.

ADSLSacem has supported the development of TV over ADSL by signing agreements with all operators. With over 22 million households equipped with ADSL, France is leader of TV broadcasting over ADSL: 13.7 million subscribers now enjoy this service. Since Sacem collections depend on the number of subscribers, this sug-gests favourable prospects for the future.

the growth in ADSL subscriptions, the ex-ploitation of content in the digital environ-ment offers notable growth levers. It is the duty of authors’ societies, starting with Sa-cem, to adapt to this, both anticipating and stimulating trends to enable authors, com-posers and publishers to benefit in the long term from these changes despite all the new technical, legal and economic obsta-cles they engender.

> FocusFirst tablets in 2010.

3.6 million tablets sold in 2012 in France.

every day, 24 million exchanges —uploads or downloads— of music and listening online take place in France.

Distributing

“Music should humbly seek to please” Claude Debussy

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Distributing

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

2008

2008

2009

2009

2010

2010

2011

2011

2012

2012

Growth in the number of members since 1851

145,00060,800

44,0

00

31,000

3,8005,400

10new memberships a day on average.

3 ,014works filed every day on average.

Breakdown of members by profession

author-composers 60,800

composers 44,000

authors/authors of dubbing, sub-titling/humourists 31,000

author-directors 3,800

Publishers 5,400

1851 1970 1997 2012

TrendsFigures for 2012

70,000

145,000

30,000

221

602.6

524,000

634.1

617,000

647

690,000

649.8

1,000,000

662.8

1,100,000

Growth in five years of royalties distributed

+ 10% from 2008 to 2012

x 2 from 1997

to 2012

x 2 from 2008 to 2012


Distributing

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Billions of acts, millions of worksSacem is focusing its efforts online first. With 164 million works identified in 2012 (449,300 works a day), the growth of dis-tributions is faced with new challenges: technical difficulties relative to the identi-fication of protected content and handling of the resulting volumes, as well as the claims of CMOs on a European level. For Membership Manager Louis Diringer, the challenge lies in “radical restructuring of information systems, documentation and management. We must strive to work in col-laboration with societies in the sector to de-velop tools able to find solutions for the frag-mentation of repertoires and the increase in volumes to be processed.”

In our members’ serviceStarting in the autumn of 2013, authors, composers and publishers of music will be able to report their works online, with the guarantee of having the same degree of control as on paper. This is one of the crucial stakes in the restructuring of sacem.fr begun in 2012 and aiming to facilitate the reporting and consultation of increasingly precise data. Sacem PLUS, a range of services and advantages, will offer members special rates negotiated in many fields: musical instruments, sound and IT equipment, accommodation...These ambitious initiatives keep authors, composers and publishers at the very heart of collective management, with obvious appeal: 55,000 new members have joined Sacem since the year 2000!

Online: success to be managedDownloading and streaming represent 4% of rights distributed (compared to less than 1% in 2010). This dynamism is ac-companied by exponential growth of the data to be processed and managed made more complex because of fragmentation of repertoires and rights.Beyond the figures, these changes reflect the renewal of modes and uses of works. They require tools for specific calculations and management and appropriate thought for creators’ needs.

When the music is good... In 2012, €662.8m were distributed to authors, composers and publishers of music whose works were used or circulated. (1)

Television is the main source of revenue for Sa-cem members. Royalties from shows, concerts and background music came in second and international

royalties are in third place. This trend is stimulated mainly by the progression of general rights, starting with live perfor-mances, as well as audiovisual media which now represent 34% of royalties dis-tributed. Television - traditional channels, DTT, cable, satellite and ADSL - is pro-gressing by 6% which can be partly ex-plained by regularisations resulting from negotiations with France Télévisions (+26%), rather than an increase in reve-nue from traditional channels in the pri-vate sector, affected by the drop in adver-tising.Royalties distributed for radio dropped by 3% essentially because of late payment.

A repertoire with appealGeneral rights and the exploitation of re-corded music (background music, disco-theques) remain a stable source of royal-ties (+1%) representing 22% of the rights distributed.Rights from abroad rose 15%, confirming the popularity of Sacem repertoire abroad. At the same time, the phonograph sector is pursuing its downturn (-10% compared to 2011).

Finding solutions for the fragmentation of repertoires and the increase in volumes to be processed.”Louis Diringer, Membership Manager

cascadeur.

48,000

2,60011,000

34,400

Breakdown of author-composers according to their annual revenue in 2012

Members having received up to €1,000

Members having received €1,001 to €15,000

Members having received over €15,000

The total amount of royalties distributed progressed by 3% compared to 2011; mean revenue per creator has also progressed (+5%) to reach €4,770.

(1) The royalties distributed correspond to rights collected in 2011 and 2012.


Distributing

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

Writing, composing, pub-lishing... Music is an art. It is also a profession and many dedicate their whole lives to it. For these lives which blend passion and

uncertainty, awards ceremonies are true high-lights in an artistic career. The Sacem Grand Prix are of this type: authors, composers and publishers who are on the Sacem Board of Direc-tors pay tribute to the talent of those who allow music to live.The winners then enter a world of winners which include artists as different as Allain Leprest and Henri Dutilleux, David Guetta and Alain Souchon... Besides their talent, what they have in common is their authors’ society: Sacem.The winners in 2012 once again illustrate this fine diversity of repertoires. The winning artists offered the audience attending the Grand Prix ceremony a show of the finest quality highlight-ing the wealth of the Sacem repertoire.

WinnersCatherine Ringer • sacem special Prize Camille • Grand Prize for French songRichard Bona • Jazz Grand Prize Gilles Amado • Film/Video Director’s Grand PrizeTiken Jah Fakoly • Grand Prize for Traditional and World MusicGipsy Kings • Grand Prize for sacem repertoire abroadRoland Magdane • Grand Prize for humourAnaïs • Francis lemarque Prize : anaïsÉric Demarsan • Grand Prize for Film/Video MusicUniversal Music Publishing France (Jean-Philippe allard) • Grand Prize for Music PublishingÉric Tanguy • Grand Prize for symphony Music (career)Fabien Waksman • Grand Prize for symphony MusicJustice • Grand Prize for electroSexion d’assaut • rolf Marbot Prize for the song of the year Avant qu’elle parte

+To relive the ceremony in pictures and video, go to sacem.fr.

Tops successes in 2012Biggest 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 Publishing3. J’aimerais trop qu’elle m’aime – keen’V. M. evain/F. Vanvert/k. Bonnet/e. lemoine/Yaz Prod4. Hot summer night (oh la la la) – David Tavare. a. crotti/l. ricco/lr Musikverlag/emi Music Pub Germany/hanseatic Musikverlag5. Rolling in the deep – adele. P. epworth/Melted stone Publishing ltd/emi Music Publishing ltd/adele6. 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 Publishing7. Man down – rihanna. J. shama/Theron Thomas/Timothy Thomas/l. shontelle/r. Fenty/reverb Music/emi Blackwood Music inc/annarhi Music llc/universal Music corporation/T n T explosive Publishing/irving Music/sholay Music llc/Merokee Music Jr8. 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/sekel9. I gotta feeling – The Black eyed Peas. D. Guetta/F. riesterer/Will i am/s. Ferguson/J. Gomez/a. Pineda/What a Publishing limited/rister editions/Will i am Music inc/cherry river Music co/headphone Junkie Publishing llc/Tab Magnetic Publishing/Jeepney Music inc10. Rabiosa (english version) – shakira Feat Pitbull. el cata/shakira/Pitbull/The Development artist Management/los Duenos Del negosio Music Group/sony atv Discos Music Publishing llc/aniwi Music llc/11. S&M – rihanna. s. Wilhelm/hermansen/M. eriksen/e. Dean/Di Piu/emi Mc Publishing ltd/Dat Damn Dean Music/songs of Peer ltd12. Mr Saxobeat – alexandra stan. V. Prodan/a. nemirschi/Play on 91113. Sun is up – inna. s. Barac/r. Bolfea/M. Botezan/roton inna14. Il nous faut – elisa Tovati & Tom Dice. J. Mamann/c. Gabrie/T. eeckhout/Because editions/Pilotis15. Who’s that chick – David Guetta Feat rihanna. D. Guetta/F. riesterer/G. Tuinfort/k. hamid/What a Publishing limited/rister editions/2101 songs/Piano songs16. Price tag – Jessie J Feat Bob . J. cornish/l. Gottwald/c. kelly/B. simmons/sony atv Music Publishing limited (uk)/ songs of universal inc/ham squad Music/studio Beast Music/Warner Tamerlane Publishing co/kasz Money Publishing/Prescription songs llc17. Elle me dit – Mika. M. Penniman/l. lescarret/Mika Punch/irving Music/Wagram Publishing/Johnny Flyer Music18. Hello – Yannick noah & asa. J. Veneruso/c. Battaglia/etoudi editions/Musicalement Votre19. Someone like you – adele. D. Wilson/chrysalis Music/sugar lake Music llc/Melted stone Publishing ltd/adele20. Soulman – Ben l’oncle soul. G. lesieur/Ben l’oncle soul/F. chellaoui/Tipping Music

Members sacem

Being assertive

“Music above all else” Paul Verlaine

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Being assertive

12%authors and composers, members sacem, are foreign nationals.

163nationalities represented.

158representation agreements signed with foreign authors’ societies.

2ndrepertoire for export only to the anglo-american repertoire.

Sacem repertoire exported to ten countries (in m€)

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 éditions2. I gotta feeling – Black eyed Peas. D. Guetta/F. riesterer/Will i am/s. Ferguson/J. Gomez/a. Pineda/What a Publishing limited/rister editions/Will i am Music inc/cherry river Music co/headphone Junkie3. Les feuilles mortes – Yves Montand… J. kosma/J. Prévert/J. enoch/enoch cie4. Hello – Martin solveig, Dragonette. M. solveig/M. sorbara/Temps d’avance/emi Music Publishing France/Dragonette Publishing inc5. YMCA – Village People. h. Belolo/J. Morali/V. Willis/Black scorpio6. Alors on danse – stromae. Because art/kilomaitre Publishing/Mosaert/stromae7. 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 inc/sony atv Tunes llc/Bug Music inc/carmen Michelle Music8. La vie en rose – édith Piaf… é. Piaf/louiguy/éditions Beuscher9. Memories – David Guetta feat kid cudi. D. Guetta/F. riesterer/kid cudi/What a Publishing limited/rister editions/elsie s Baby Boy 10. Roméo et Juliette opus 64 – serge Prokofieff/le chant du Monde

Members sacem

Top successes abroadFigures for 2012

Ger

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10.4

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italy

6.5

2

Bel

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6.4

3

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6.2

4

switz

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5.8

5

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5.7

6

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5.5

7

uni

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4.2

8

can

ada

3.6

9

spa

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3.1

10

Growth 2011-2012 of royalties paid to Sacem for the exploitation of its repertoire by continent

south america

+24%africa and Middle east

+20%asia-Pacific

+8%europe

+1%north america

-4%


Being assertive

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ages the presence of its members all over the world. This is a key step for the man-agement of rights in a zone where nearly 5,000 of its members are located, while contributing to the emergence of new tal-ent.

Armonia: a response to the fragmentation of repertoiresArmonia is the first European portal for li-censing online services. Launched in au-tumn 2012 by collective management soci-eties in France (Sacem), Italy (Siae) and Spain (Sgae), this one-stop-shop encourag-es 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, Sgae, Siae, Umpi, Sony Latino, Peer Latino and Spa all over Europe and even beyond, since over fifty other countries throughout the world are also included in this agree-ment. By accelerating the evolution of this offering, Armonia illustrates this will to support the development of digital media worldwide.

Kuwait, Oman, Qatar, Yemen, Iran, Iraq, Jordan, Lebanon, Syria and Palestine.This agreement aims to encourage the de-velopment of the online music market in France and globally. Over 200 agree-ments haves already been concluded be-tween Sacem and online services for the legal exploitation of millions of musical works accessible according to free or paid content models.With this new agreement, Sacem encour-

New horizonsProjects for the future and opening up to the world! Sacem is further reinforcing its relations with major partners abroad and developing initiatives with players in global music. Close-up of three innovative projects.

Yala: the world at our thresholdSigned in 2012, the agreement with Yala Backstage, a platform dedicated to artists wishing to promote, distribute and mone-tise their works in the Middle East and North Africa was signed in January 2013. This contract enables Yala Music to offer its service to web users in North Africa and the Middle East: Libya, Mauritania, Tunisia, Djibouti, Ethiopia, Sudan, Saudi Arabia, Bahrain, United Arab Emirates,

+More information at www.armoniaonline.com

armonia, an online exploitation platform in over thirty european countries.

> Focus

Armonia in figures

5.5m works.

31 countries.


Being assertive

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Defending private copying and protecting creationA virtuous system enforced in 25 of the 27 countries in the European Union, 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 public interest has demonstrated that it is essential for creation.

This system, devised in Ger-many in the early 1960s and adopted in France in 1985 (Lang Law) allows in-dividuals to copy works for their own private use when

they have been legally acquired. In return, when purchasing storage media (hard drives, USB memory stick, as well as tab-lets or smartphones), a small part of the purchase price goes directly to creation.This levy is redistributed to creators, art-ists, publishers and producers in all sec-tors of musical, audiovisual, written, graphic and artistic creation. 75% of the sums collected are paid directly to them,

This levy is far from harming those who complain about it: without creators, with-out works and without music, there would be no need for devices to making private copies!

Sacem in the vanguardThese attacks emanate most often from economic players outside our national ter-ritory, 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 live on!

> Focus

2.4%of the turnover of recording equipment importers in France (in the markets concerned: computers, telephones, external hard drives, mp3 players, tablets, DVDs, USB flash drives, CDs and memory cards); this is what provides revenue for private copying.

DJ Pee, Le Peuple de l’Herbe, solidays 2012.

We Were evergreen.

nadeah, solidays 2012.

while 25% goes to initiative promoting creation, broadcasting live performances and professional training for musicians.In 2012, Copie France, the organisation in charge of collecting the levy from those liable, collected €173.9m, including €51.3m distributed by Sacem. Despite its great val-ue since it guarantees our country’s cul-tural diversity and artistic vitality, private copying is under threat from electronic equipment manufacturers and importers who would like to see it dismantled, there-by endangering an important part of sup-port for cultural activities. In 2012, over 5,000 events received support thanks to the contribution of private copying.

A system under threatThe sizable drop in the amount collected by Copie France (-5% in 2012) is a sign of gathering clouds casting a shadow on pri-vate 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-thorisation to make copies –a notable ex-ception to traditional authors’ rights– it is quite normal that manufacturers and im-porters of the equipment necessary for making such copies, who derive substan-tial benefits from this situation, contrib-ute in order to support creators in their turn.


Bringing support

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Stimulating broadcasting“Supporting creators without being concerned with broadcasters would be meaningless,” em-phasises Olivier Bernard. Concert hall are essential venues where artists can forge ties with audiences and festivals receive special attention. In 2012, support for live performances mobilised 50% of resources for Cultural Projects, for a total of €7.5m, a large part of which (€2.5m) goes to Region-al initiatives. And Sacem strives to promote the exploitation of the works of Franco-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 creatorsSacem rolls out a programme of assistance to training organisations taking initiatives in favour of young creators (writing, composition, musical IT), with a budget of €1m (7%) in 2012.

Supporting creationSupporting creation mobilises 35% of the resources allocated by Cultural Projects (€5m in 2012). This includes in particular enhancement initiatives (direct aid to members), also used as part of support for creators of music for cinema and televi-sion, producers of films or documentaries about music, recording live concerts... Aid for phonogram production (1 DVD and 45 CD), self-produced recordings (73 projects supported), music information structures and direct support for artists (residences, aid for career development) also mobilised a large part of these resources.As such, Aid for Career Development is a major orientation for activity in the sector of Musiques Actuelles. In 2012, Charles-Baptiste, Philippe Uminski, Vieux Farka Touré, C2C and Frànçois & the Atlas Mountains received this support.

Cultural Projects:young creators’ favouritesSacem rolls out a policy of support to creation, one of the largest of all authors’ societies.

For 50 years, Sacem has been preparing fertile ground for to-morrow’s creations by support-ing artistic careers, stimulating the exploitation of works and facilitating the integration of

young professionals. Our position between creators and broadcast markets make us all the more relevant, appropriate and virtu-ous. Indeed, if supporting careers directly benefits creators and artists, it also benefits producers, festivals and concert halls which similarly schedule these artists and present these new projects. Truly a wager for the future: “It is a matter of promoting passing on the torch between confirmed cre-ators and those of tomorrow, encouraging the emergence of young authors and securing fu-ture creation,” comments Olivier Bernard, Cultural Projects Manager.For a decade, Sacem has provided assis-tance of up to €100m for over 15,000 artis-tic projects. This support was augmented by a contribution from the private copy levy and our own equity.

> Focus

€19.3mSuch is the budget for Cultural Projects in 2012. Support for all the great repertoires of living music (Contemporary Music, poetry, audiovisual music, Musiques Actuelles).

Communicating...In 2012, Sacem supported some fifteen works on music. Jazz, vocal, history of music, artists... an essential contribution to the circulation of musical culture.

By bringing us their support, Sacem enabled us to launch the machine.”C2C

charles-Baptiste.

aline.


Bringing support

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A model for international cooperationThe Franco-American Cultural Fund (FACF) resulted from an agreement signed in 1996 between Sacem, the Directors Guild of America and Writers Guild of America and the Motion Picture Association of America representing producers.

Funded thanks to resources from private copying, FACF has several goals: teaching the art of cinema, promoting ex-changes between French and American cinema and encour-

aging dialogue between professionals in both countries. FACF created and has or-ganised every year since 1997, ColCoa, the first French Film Festival in the United States. The Fund is also recognised for re-storing old films. With the Film Founda-tion, chaired by Martin Scorsese, and the Cinémathèque Française, it gives finan-cial support for restoring French and American films every year: La Baie des Anges (J. Demy) and La Belle et la Bête (J. Cocteau) in 2012.

Three major events in 2012

City of Lights, City of AngelsIn April, in a very favourable context for French cinema after la nomination of two French films at the Oscars and the tri-umph of The Artist, Los Angeles hosted the 16th ColCoa, with fifty short and fea-ture films in the competition. Flo-rent-Emilio Siri’s film Cloclo opened the Festival, while Éric Toledano and Olivier Nakache’s very popular Intouchables closed the competition.

Commissions from composersAll year long, Fas commissions works from young composers and follows up these projects until they are premiered. In 2012: Giani Caserotto, Pierre Jodlowski, Jonathan Pontier, Alexandros Markeas and Julien Dassié (Cabaret Contempo-rain), Johannes Maria Staub (Salzburg Festival), Orchestre Symphonique Diver-timento (opening the season at Cité de la Musique).

Talents JazzFas supports young jazz artists to encour-age their access to professional life and help their career development. In 2012, Richard Manetti, Fiona Monbet and Émile Parisien received this support.

Sacem Action Fund: sponsoring all musical genresThe Sacem Action Fund (Fas) leads to a diversified sponsorship policy.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.

La musique pour tousEducation to the Arts is a priority for Fas. In constant search of new audiences, it undertakes concrete awareness cam-paigns and musical training, as attested by “Jeune Public” concerts held at Théâtre du Châtelet, initiatives targeting schools organised at the Opéra-Comique and ac-tivities at Espace Ado in the Centre Pom-pidou. All these action supported by Fas provide opportunities for meeting artists and professionals. Fas also organises workshops with partnering orchestras (Lille, Avignon...). In schools and socio-cultural centres, for example, all over France, these workshops take different forms and target children and teenagers. We can make note of the creation, in 2012, of Cinémusique which offers mu-sic-awareness through cinema to second-ary-school students in Seine-Saint-Denis.Workshops are also organised hospitals, prisons and geriatric institutions.

HeritageIn 2012, FAS was a partner in exhibitions: Django Reinhardt, Swing de Paris (Cité de la Musique), Paris en Chanson (Hôtel de Ville), documentaries —Il est minuit Paris s’éveille (Arte) and Jean-Jacques Rousseau, musicien (TV Monde) — as was as the Andrée-Chedid Poetry Contest.

Toute la Mémoire du Monde FestivalIn 2012, FACF joined forces with the Cinémathèque Française to create a new yearly event: the International Restored Film Festival, Toute la Mémoire du Monde. The first Festival opened with Ro-man Polanski’s film Tess, shown in the director’s presence. In all, the forty screenings with eclectic programming, including many restored works never be-fore shown in France attracted large audi-ence every day.

Rencontres Cinématographiques ARPFor the 22nd year, this event was chaired by the author, director and producer Rob-ert Guédiguian. It promotes solidary ac-tion and close collaboration between French, European and American film and audiovisual professionals and the public authorities, with international debates on the profession and cultural exchanges.


Managing

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GovernanceSacem 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, elected by the members at the Annual General Assembly, the Board of Directors, one-third of which is renewable every year, comprises six authors, six composers and six music publishers, one permanent

author-director and one deputy (author-di-rectors are elected for two years). The Boards makes all key decisions for Sa-cem’s life and appoints the CEO, entrust-ed with implementing them.

Authors

Four regulatory committees

– audiovisual

– author-directors

– symphonic music

– Variety

General Assembly

Board of Directors

General Management

Compositors

Publishers

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convened in the

Three statutory committees

– Programmes

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– accounts and surveillance

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.


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New management

The future offers considerable challenge. We must learn to cover hybrid uses and devise appropriate solutions.” Cécile Rap-Veber, Licensing Manager

At the international level, Sacem acts somewhat like a magnetic needle indicating the right direction.” Claude Gaillard, International Affairs Manager

Revising our customer policy, repositioning our offering, making it more comprehensible to customers like authors, composers and publishers of music: such is the goal of our network.” Patrick Fontana, Network Manager

restructuring our information systems is the major challenge. We must develop appropriate tools in a world recomposed for online uses.” Louis Diringer, Membership Manager

Our staff are committed to producing increasingly efficient information systems to facilitate and improve operational teams’ daily work.” Véronique Sinclair, Information Systems Manager

On 20 June 2012, Jean-Noël Tronc was ap-pointed to succeed Bernard Miyet as CEO. There resulted a change in governance, with in particular changes in Sacem’s

Statutes, the Directoire becoming the General Management, as in most other authors’ societies.

We must be on the cutting edge of future developments not only to keep up with them but also to anticipate and stimulate them.” Christophe Waignier, Strategic Resources Manager.

Membership Department:louis Diringer

Communications Department:

catherine Boissière

Network Department

Patrick Fontana

Licencing Department:

cécile rap-Veber

Cultural Projects Department:olivier Bernard

International Affairs

Department:claude Gaillard

Information Systems

Department:Véronique sinclair

Secretariat General:

David el-sayeghon 1 July 2013

Institutional Relations

Department:Blaise Mistler

Strategic Resources

Department:christophe Waignier

CEO:Jean-noël Tronc

New!“SACeM PLUS”: a programme of exclusive services and advantages for Sacem members.Open to everyone: authors, composers and publishers.Activate your programme online, with just a few clicks from your special page at sacem.fr.


Managing

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

With over 90% of spontaneous recogni-tion (according to a BVA survey in June 2012), Sacem is both well-known and poorly known, particularly regarding its role and how it functions. This is a para-dox for a society subject to the quintuple surveillance: by an independent auditor, like all private organisations, by the Min-istry of Culture and Communication

which validates statutory changes, by Par-liament which supervises Cultural Proj-ects, by the Cour des Comptes (Revenue Office) which verifies every year through the Commission Permanente de Contrôle des SPRD (a standing committee for au-diting CMOs) and, finally, by weekly in-ternal auditing to examine all Sacem op-erating expenses.

Statutory auditor

Annual external verification

Cour des Comptescommission de contrôle des sPrD

Ministry of Culture and Communication

National Assembly and Senatecultural affairs commissions

Periodic external audits

Urssaf

Tax Authorities

Internal audits

annual

weekly

periodic

General Assembly

Accounts Committee

Remunerations Committeecreation in 2011

Internal Audit and Controls Department

creation in 2013

How is Sacem audited?


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sacem in 300 questions...

and the same number of answers.

sacem.fr

sacem – non-trading company with variable capital – 775 675 739 – rcs nanterre – Graphic design: 21x29.7 – cover photo: agencyby/ Thinkstock – Printed with natural plant ink by Grafik Plus (imprimerie “imprim’vert”) – sustainably contributes to forest resources.

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225, avenue charles-de-Gaulle92528 neuilly-sur-seine cedexFrancesacem.fr

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