2013 - La Sacem · PDF filesheet Distribution 26 ed but i tr s ... Jean-Michel Jarre and...
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2013 Activity Report
Transcript of 2013 - La Sacem · PDF filesheet Distribution 26 ed but i tr s ... Jean-Michel Jarre and...
2013Activity Report
SACEM | ACTIVITY REPORT 2013 page 3
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— Contents —
04 Profile05 Editorial 06 The year in review
Management12 Board of Directors13 Who runs Sacem?14 Executive Board15 Supervision
and transparency
Collections18 Collections in 201321 A changing regional
network22 Online music
Being assertive34 Sacem open
to the world36 Top 2013: French hits
abroad37 Defending Cultural
Diversity in Europe
Bringing support42 Creating with passion...45 Les Scènes Sacem
in 2013...
Financial results48 Collections – Distribution 49 Condensed balance
sheet
Distribution26 Royalties distributed
in 201328 Serving members30 Sacem Grand Prix:
rewarding talent31 They left their mark
on 2013: biggest hits in France
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149,000 members.
4,000 new members.
18,200 foreign members.
164 nationalities represented.
80 million works from the global repertoire represented.
185,000 authors, composers and publishers of music in France and all over the world receive royalties from Sacem.
158 representation contracts with 112 authors’ societies in 92 different countries.
19.5 million euros dedicated to Cultural Projects.
1,597 projects supported by Cultural Projects.
Since 1851, Sacem has been serving authors, composers and publishersThree missions
> Collecting and distributing royalties to authors, composers and publishers of music, whenever their works are played;
> Encouraging and promoting creation through the diversity of the repertoires managed by the Society: music, song, poetry, humour, television, dubbing, subtitles;
> Defending, serving and representing members’ interests through protection of their works and the development of efficient services and mutual aid systems.
A varied repertoire
Figures for 2013
Over1 millionnew works filed, including 155,000 works by Sacem creators.
620,000 clients exploiting music.
834.8 million euros collected, including €24,8 of royalties from major regularizations.
music textsaudiovisual rock
jazz
rapreggae
zouk
song
world music symphonic music
traditional music
instrumental
electro-music
techno
rnbsketches
subtitles
poems
editorialshumour
dubbing
musical videos advertising music
musical illustrations
of programmes
music for video musical
documentaries
— Profile — — Editorial —
Attractiveness, effectiveness, solidarity
Looking back on 2013In 2013, our society was once again able to prove its appeal with nearly 4,000 new mem-bers, and its collections, up 4%, showed the effectiveness of its model, even in a time of crisis.For creators and publishers, Sa-cem functions like a coopera-tive: by bringing their reper-toires together, its members provide for more balanced nego-tiation with those who use their works, just as farmers work to-gether to sell the fruit of their labour. Sacem collects and dis-tributes royalties according to these negotiations.In 2013, Sacem distributed nearly €635m to 47,500 living authors and composers and 4,000 pub-lishers in France, and to 133,500 creators who are members of for-eign societies whose works we represent. In all, 185,000 authors, composers and publishers of mu-sic all over the world received roy-alties from Sacem last year
Sacem plays a major role in the ecosystem of musicSacem does play a major eco-nomic role for creators, who are the first –and most fragile– link
in the entire musical value chain since, without works, there would be no concerts, re-cordings or performances. Ev-erything starts with works. Be-yond music, we serve a growing number of authors in other cre-ative fields: humourists, poets, authors of subtitles, author-di-rectors, etc.
The collective management model confirms its appeal Beyond the economic aspect of its activity, Sacem also promotes the values of cooperatives, like solidarity between members.Since its foundation on 28 Feb-ruary 1851, under the Second French Republic, Sacem’s stat-utes defined its goals as “mutual protection of its members.” It has maintained and developed this strong social dimension throughout its history, support-ing the professionalization of its members, recognition of their trades, defending their status and guaranteeing the finest and most complete social protec-tion, as attested, for example, by the founding of mutual health insurance in 1947, work towards developing independent supple-mentary retirement benefits and creation of the “Comité du Coeur”, in 1951, to provide finan-cial support to creators facing difficulties.Sacem’s great strength lies in be-ingable to combine an economic efficiency and the solidarity of a social culture. Creators and pub-lishers are very much aware of this, since more and more of them keep on joining our ranks: today, we have 149,000 mem-bers, over twice as many as twen-
Jean-Noël Tronc, CEO of Sacem.
ty years ago. Collective manage-ment is for them an attractive model, in France and well be-yond our borders!
Enhancing members’ servicesFirst, we will pursue the devel-opment of services to members with all our staff. Since Febru-ary 2014, for example, we set up a completely dematerialized system for filing works online, which guarantees the same lev-el of security and reliability as for hard copies. Just four months after the service began, nearly 25,000 works have al-ready been filed online. Every year, our members file some 155,000 works. It is essential for us to develop services to simpli-fy their professional lives.The other matter for which we will be mobilized is continuing professional education for our members. This right is recent for them –since 2012– and it is important for Sacem members to be able to take advantage of new opportunities for profes-sional training, for which they pay fees. We will be certain to keep them informed and help them register.
SACEM | ACTIVITY REPORT 2013 page 7
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January-MarchAgreement with Yala Music for the exploitation of musical works and videos from Sacem repertoire on the yala.fm online music service and Yala mobile.
c Karol Beffa, composer of the year at the Victoires de la Musique Classique 2013.
Agreement with Radio France for the multimedia offering.
Sacem “Emergence of new talents” prize awarded to the Canal B community radio station for the 2013 World Radio Day and Le Radio professional trade fair.
c Private copying: the Advocate General of the CJEU (Court of Justice of the European Union) gave the go-ahead to dedicating 25% of the remuneration for private copying to Cultural Projects (see pages 38-39).
April-June April-June (cont.)
a First “Soirée Klaxon”, a new musical event at Les Trois Baudets dedicated to emerging creator-performers.
Global agreement with UMPI(1) and YouTube defining conditions of use in 127 countries throughout Europe, the Middle East, Africa and Asia of Sacem repertoire and UMPI(1) Anglo-American repertoire in videos available on YouTube.
Agreement with Arte bearing on all the channel’s televised and multimedia services and covering the repertoires of ADAGP(2), Sacem, SACD(3) and SCAM(4).
Printemps de Bourges: Sacem round table on “How the digital environment has encouraged innovation and improved exposure for live performances” and Opération French VIP.
New on the Web: the Sacem.fr site shows its new face and has added an FAQ page all about Sacem and copyright/authors’ rights. Sacem is reinforcing its position in the social networks.
Election of a new international governance for authors’ rightsJean-Michel Jarre and Angélique Kidjo, elected President and Vice President respectively of CISAC (International Confederation of Authors and Composers’ Societies) (see page 34).
Over 5,000 musicians mobilize to defend the Cultural Exception in the context of the Free-Trade Agreement with the United States (see page 37).
Opening a new service online:the possibility of consulting data on the use of works (see pages 28-29).
b Open days at Sacem: a first! For the Fête de la Musique, members and staff greeted the public to discover the sidelines of Sacem along with the work of authors, composers and publishers of music.
c Exceptional concert dedicated to Alexandre Desplat’s works, performed by the Philharmonic Orchestra of Radio France. A Sacem-France Musique partnership.
c Launch of Sacem PLUS, a programme of advantages for all members (see page 29).
Sophie Maurin at the Soirée Klaxon on 13 May 2013.
Karol Beffa, Sacem member.
(1) Universal Music Publishing International. (2) Société des auteurs dans les arts graphiques et plastiques. (3) Société des auteurs et compositeurs dramatiques. (4) Société civile des auteurs multimédia.
— The year in review —
SACEM | ACTIVITY REPORT 2013 page 9
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July-September
Mission Bordes: mobilization of the musical world! Sacem and the entire industry together in the “Tous pour la Musique” Association closely watched developments in the mission entrusted by the Minister of Culture & Communication, Aurélie Filippetti, to Jean-Marc Bordes on music in the media.
a Armonia, “stronger together”.The authors’ societies Artisjus (Hungary) and SABAM (Belgium) joined Armonia, the first European portal for licensing online music services (see page 23).
October-decemberd Launch of the first panorama of cultural and creative industries in France (EY France Créative).1.2 million jobs and over 74 billion euros: for the first time, a study assessed the economic importance of nine cultural sectors in France.More at francecreative.fr.
a Sacem Grand Prix Ceremony at L’Olympia (see page 30).
Agreement with Orange Covering the distribution of television programmes and the exploitation of works from authors’ societies’ repertoires (ADAGP, Sacem, SACD, Scam) through ADSL, fibre, satellite and mobile.
Agreement with INA bearing on their offering of videos on demand.
Christophe Héral, winner of the prize for best original music for the video game Rayman legends (Ubisoft) at the Game Paris Awards 2013.
“Sacem is not a tax collector.”Article signed by over fifty members from Brittany and Western France and published in the regional daily newspaper Ouest France on Wednesday 3 December.
b Sacem on the road to Festivals!
> Francofolies in La Rochelle: Les Scènes Sacem Chanson, Chantier des Francos tour, shows for young people (Francos Juniors, Enfants de la Zique).
> Festival of Aix-in-Provence: Sacem/European Academy of Music concert, master class.
> Les Suds World Music Festival in Arles: Les Scènes Sacem Création.
> Avignon Festival: presence at La Maison Professionnelle du Spectacle Vivant
— The year in review —
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— MANAGEMENT —
The authors’ rights cooperative
(1) when Sacem was founded.
19Board members,
149, 000members in 2013.
4founders,
221members in 1851 (1).
SACEM | ACTIVITY REPORT 2013 page 13 — MANAGEMENT —
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Board of Directors Elected by the Sacem General Assembly, the Board of Directors is made up of six authors, six composers and six music publishers (one-third renewable each year in June), as well as an author-director as permanent member and an author-director as substitute. The Board of Directors makes all decisions essential for the life of Sacem. It appoints the CEO, who manages the Society and is responsible for implementing the policies defined by the Board.
CommitteesThe statutory committees, elected by the General Assembly, are independent of the Board of Directors and Departments. There are two of them, exercising supervisory functions: the Accounts and Surveil-lance Committee meets once a week to check the Society’s receipts and expenses and accounts: the Programming Committee checks programmes, tables and distribution documents.The committee provided for in Article R. 321-6-3 of the CPI (Intellectual Property Code) and also elected by the General Assembly, gives an opinion in case of refusal to communicate a document to a member. These three committees report on their activity to the General Assembly.There are also four regulatory committees, which are consultative and whose members are appointed by the Board of Directors: an Audiovisual Committee, Variety Committee, Authors-Directors Committee and Symphonic Committee.Futhermore, there are two technical committees: a Mémoires Committee, entrusted with developing the Sacem patrimony, and a Self-Production Committee.
Board of Directors for 2014-2015. Seated in first row, left to right: Serge Perathoner, Gilles Amado, Jean Fauque, Halit Uman, Christian Gauber, Thierry Communal, Frédéric Zeitoun; standing behind them, left to right: Patrick Lemaître, Rémy Grumbach, David Séchan, Christine Lidon, Wally Badarou, Laurent Petitgirard, Jean-Max Rivière, Arlette Tabart, Alain Chamfort, Caroline Molko, Nelly Querol, Jean-Marie Salhani, Richard Seff
Board of Directors elected by their peers
General
Management
appoints and supervises
appoints and supervises
Two statutory committees
– Programming
– Accounts and Surveillance
Two technical committees
– Assistance for self-production
– Mémoires
Four regulatory committees
– Audiovisual
– Authors-directors
– Symphonic music
– Variety
CommitteeR. 321-6-3 of the CPI
General Assemblymade up of authors, composers and publishers, Sacem members
votes to electvotes to elect
Who runs Sacem? Sacem is a non-profit non-trading entity founded and managed by its members: authors, composers and publishers of music, authors of dubbing and subtitles, poets, humourists and author-directors.
SACEM | ACTIVITY REPORT 2013 page 15 — MANAGEMENT —
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Supervision and transparency Few private companies undergo such regular detailed supervision. The examination of Sacem management operations guarantees efficiency and transparency.
Executive Board Around the CEO, Jean-Noël Tronc, the Executive Board is the body in charge of sharing information, coordinating initiatives and making decisions.
Sacem is subject to fivefold sur-veillance by:l the Accounts and Surveillance
Committee, made up of two au-thors, two composers and two publishers, each elected for 3 years by the General Assembly. They are independent of both the Board of Directors and the
1,373 employees serving creatorsEvery day, 1,373 Sacem employees strive to serve authors’ rights and collective manage-ment in over 70 sites all over France and Overseas. Like cooperatives, Sacem plays a major economic role, with a social and cultural dimension. Sacem has a strong cultural policy (see pages 42-45) and offers its members a social solidarity framework.
Auditor
Annual external audits
Cour des comptesSupervisory Committee for SPRDs
Ministry of Culture and Communication
National Assembly & SenateCultural Affairs Committees
Occasional external audits
Urssaf
Tax authorities
Internal audit:
– yearly
– weekly
– periodically
General Assembly
Accounts Committee
Remunerations CommitteeCreation in 2011
Internal auditing DivisionCreated in 2013
How is Sacem audited?
CEO. They check the Society’s expenses weekly along with its accounts and report their work to the annual General Assem-bly;
l an independent auditor;l the Cour des Comptes through
the Supervisory Committee for Royalty Collection and Distri-
bution Societies (SPRDs);l the Ministry of Culture and
Communication, which vali-dates statutory changes;
l the French Parliament, which checks how the “25% share from private copying” is used for Cultural Projects.
Left to right: David El Sayegh, Secretary General; Christophe Waignier, Director of Resources and Strategy; Véronique Sinclair, Director of Information Systems; Stéphane Vasseur, Network Manager; Cécile Rap-Veber, Licensing Director; Jean-Noël Tronc, CEO; Louis Diringer, Membership Director; Claude Gaillard, International Director.
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— COLLECTIONS —
1, 000 clients in 1860.
620 ,000clients in 2013.
Precision, proximity and trust
SACEM | ACTIVITY REPORT 2013 page 19
834.8
Skip The Use, Sacem member, Francofolies de La Rochelle, July 2013.
— COLLECTIONS —
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The extra touch that makes all the difference!80% of French people pre-fer public places where mu-sic is played. This was re-vealed in a survey commissioned by Sacem, SPRÉ(1) and Mood Media(2). More specifically, the re-sults of this study show the strong appeal of repertoire music, which is familiar and
recognized. In the apparel sector, 88% of customers assert that hearing familiar music enhances a shop’s image, while 76% of employers recognize that music is a key element in their establishments’ atmosphere. Music has a positive ef-fect on sales: none of the apparel shop questioned was will-ing to take the risk of not playing music and, in a sluggish period, it has a buffer effect for supermarkets.
sacem.fr > La Sacem > Press Space > Publications > Studies
(1) Société pour la perception de la rémunération équitable. (2) A Corporation specialized in point of sales marketing.
Music, an economic asset Sacem collections lined to back-ground music rose 3.6% in 2013. The sector of cafés, hotels and restaurants was the first to grow, before shops in the broad-er sense. In February 2014, Sa-cem presented a study confirm-ing that music brings well-being and pleasure to shoppers (see box). Truly strategic and closely linked to the work of the regional net-
Collections in 2013 Royalties collected in 2013 reached the sum of €834.8m, including €24.8m from the regularization of rights. This year’s collections rose 4% over 2012. In a particularly difficult economic context, this is the result of intense mobilization of staff in the regional network and in licensing.
Tours, shows and con-certs (General rights) represent nearly 11% of all Sacem collec-tions. Although many events reflect
Sacem repertoire’s diversity (Mu-siques Actuelles, variety, humour, jazz, electronic music, musical comedy, symphonic music...), it can be observed that tours have acted as prime movers and con-centrated 42% of royalties collect-ed for Live Performance, although they represent only 4% of events. Among tours, the top thirty alone generate 57% of collections and explain the strong progression of royalties collected.
Tours represent 42% of royalties collected for Live Performance.”
traditional television channels. The reduction in advertising rev-enue partly explains the drop in collections (–2.8%) for private channels. In the public television sector, there was an increase of over €2m linked to the signing of agreements on new modes of ex-ploitation of their programmes. Royalties from radio grew slightly (+0.8%) thanks to private radio stations. For public radio, negotia-tions with Radio France led to li-censing delinearized radio broad-casts. For distributors, 2013 was the year for the exploitation of television on mobile media and negotiations are underway with operators to cover all devices.
work, background music repre-sent one of the main growth le-vers for Sacem members.
Audiovisual media and operators, inescapable players With over €316m collected, the audiovisual media and cable, sat-ellite and ADSL operators rein-forced their preponderant place in royalty collections. The sum of €185.8m was collected from the
Collections by sector (en M€) €281.7m General rights €142.3m Concerts, spectacles, dance €122.2m Background music, discotheques €17.2m Cinema €236.4m Audiovisual media €185.8m Television €50.6m Radio €80.0m International €79.6m Cable, satellite, ADSL operators €67.0m Private copying €65.4m Physical media
(phonographs, videograms) €24.7m Internet
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Subsectors
Sectors
122.2
142.
3
185.8
17.2
50.6
79.6
80.0
281.7
236.4
67.0
65.424.7
SACEM | ACTIVITY REPORT 2013 page 21 — COLLECTIONS —
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What about royalties for physical recordingsCollections for phonographs and videograms fell –7.3% in 2013, pursuing their downward trend. Over the year, the record and recorded music market in France grew 1%, however, but this will not be felt until 2014. It can be explained in particular by exceptional album sales for Stromae and Daft Punk.
A changing regional networkSacem’s territorial foundations are its most valuable asset, guaranteeing fair efficient collections and close relations with clients and local members. To optimize its organization, Sacem undertook a study of the development of the regional network in 2013.
W ith over sev-enty loca-t i o n s throughout France, Sa-cem’s terri-
torial coverage helps keep us close to clients using music, by providing a single contact for licensing music.The better to satisfy clients and improve the Society’s organiza-tion, the Paris project was launched. The three Paris dele-gations were grouped into a single entity to optimize the different processing systems associated with customer rela-tions. The objective entails bet-ter structuring activities by in-tensifying customer relations in the field, making remote re-lations more effective and bet-ter organizing collections.
A new sales policyMoreover, the transformation of the sales policy launched in 2013 aims to revise all contrac-tual supports, the economics of tariffs and protocols to simplify customer relations and make them more fluid. In addition to the project for a customer ser-vice portal at Sacem.fr, new ap-plications have been online
since 2013 such as new forms for invoicing or reports on works performed in concerts and shows (known as “type pro-grammes”).
over 70locations for Sacem in France and Overseas.
Stromae, Sacem member, Grands Prix Sacem 2013.
Variation in 2012-2013 for collections by sector
0
–7.3%
Physical media
+3.1%
+16.7%
General rights
Cable, satellite, ADSL
operators
–0.2%
Audiovisual media
+30.7%
Private copying
–2.3%
International
+20.5%
Internet
SACEM | ACTIVITY REPORT 2013 page 23 — COLLECTIONS —
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downloading in importance in 2013, the progression of online music has not waned. In 2013, Sacem renewed major agree-ments with big operators (You-Tube, Deezer).
An ever broader music offering... but at what price? The development of television via ADSL, with the transmission of programmes in the context of triple-play, quadruple-play or television on mobile means the signature of contracts, all the more significant for Sacem that the number of subscribers is growing regularly. 2013 wit-nessed the signature of agree-
Online musicCollections from Internet and multimedia services increased 20.5% over 2012. This progression corresponds in particular to changes in uses.
In a constantly chang-ing sector, the changes in uses themselves have a determinant ef-fect on the economics of music and the col-
lection of royalties. Digital play-ers are disappearing (Virgin, Beezik.com...), while others ap-pear with the development of new, ever more sophisticated equipment and others seek to ex-pand (Deezer, Qobuz) by becom-ing multi-territorial. Thanks to streaming, which equalled
ments with several hundred web radios and the appearance of new forms of radio on mobile (Spotify, iTunes Radio...), whose economic profitability is based exclusively on advertising in-come, not subscriptions. Online music, ADSL, interactive radio... all provide the public with access to an ever broader musical offer-ing. For Sacem, the challenge is to guarantee authors, composers and publishers fair remunera-tion in this constantly changing environment.
Armonia Online, the global solution Initiated by Sacem and its Italian (SIAE) and Spanish (SGAE) sis-
Private copying, an efficient system in the digital ageThe 30.7% increase in collections (€67m collected in 2013 compared to €51.3m in 2012) reflects the continued success of the market for smartphones and exploding sales of tab-lets, whose market has been boosted by the growing num-ber of players. This progression of collections is also linked to regularizations in the Telecoms and ADSL sectors, where mobile and ADSL operators supply new-generation devices for the transmission and storage of programmes.
ter societies in 2012, Armonia Online is a response to the frag-mentation of repertoires. The first European portal for pan-Eu-ropean licensing to online plat-forms, today Armonia represents 6.5 million works and covers 32 countries. The agreements signed with Beatport, Google, Deezer and YouTube give them access to member societies’ rep-ertoires. In addition to the three founding societies, Armonia in-cludes the repertoire of Luxem-bourg Sacem, SPA (Portugal) and a large number of An-glo-American and Latin Ameri-can works. In 2013, two new soci-eties joined Armonia Online: SABAM (Belgium) and Artisjus (Hungary).
From invoicing to the printing of the distribution reports, all tools for processing online uses have been revised.”
Subscription will generate profits for operators of online music, and consequently to remunerate creators and publishers.” Boby Rangers, Sacem member.
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— DISTRIBUTION —
1 st distribution of royalties
in 1851.
624 thdistribution
in octobre 2013.
Equity, passion and diversity
SACEM | ACTIVITY REPORT 2013 page 27 — DISTRIBUTION —
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Our members, their worksSacem has over 149,000 mem-bers. Its repertoire has expand-ed over the years, exceeding once more the symbolic figure of one million works filed, be-cause of the large number of sub-published foreign works filed (+4%) and of works by Sa-cem creators (+2%). In seven years, the number of works filed has increased by 158%.
Sources of royaltiesTelevision remains the main source of revenue for members, with 31% of royalties distributed, despite a decrease by 4% com-pared to 2012. Only the public
Royalties distributed in 2013Invoicing to 127 territories, 65.5 billion actions to process, 108 million works to identify, the programmes of over eighty television channels to analyse... The massive quantities of data have exploded in just a few years, giving the task of distribution a completely new dimension.
In 2013, Sacem distrib-uted €675.8m to its rights holders, up 2% over 2012. Fair distri-bution is Sacem’s trademark from the
start. In order to consolidate and reinforce this model of effi-ciency, the Society developed and launched new applications for the distribution of royalties and the documentation of works: a documentation base which indicated a work’s status according to the mode and terri-tory of exploitation (data essen-tial for multi-territorial process-ing of rights on the Internet), a service for filing works and pro-gramming online, online access to data on the exploitation of works... sector shows a progression (+11%)
thanks essentially to regulariza-tion. Royalties from radio are down (–5.5%), except for local ra-dio stations (+3.4%). For both ra-dio and television, the number of works processed by Sacem keeps on growing, guaranteeing in-creasingly accurate distribution. Thus, in four years, the number of works processed for radio in-creased by 28%. Royalties for con-certs, shows, balls (General rights) dropped slightly in 2013, while remaining the sector in which the share of exploitation works from the Sacem repertoire is greatest (65%). Royalties dis-tributed for background music are rising.
What about online music?Internet or spiralling volumes! 65.5 billion acts of downloading and streaming were processed in 2013. Sacem implemented new tools for invoicing and distribu-tion to achieve dynamic treat-ment of the fragmentation of rep-ertoires, territory by territory, in the context of global (YouTube) or pan-European (iTunes, Spotify) licensing. For the first time in 2013, the royalties distributed from the Internet and multime-dia sectors, have actually reached the same level as those from physical media (CD, DVD...). The sums distributed for streaming and downloading exceeded 6.5% of the total sums distributed, with a progression of +168% in a single year.
Royalties distributed from streaming and legal downloading increased by 168% in one year.”
Consult our distribution rules at Sacem.fr > Creators Publishers > Distribution rules
300,000works broadcast on the Internet processed by Sacem every day.
Sacem distributes royalties to members.
4 times a year.
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Maya Kamaty, Sacem member.
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Transparency and openness Online consultation of broad-cast data offers members true visibility on the origin of the royalties distributed. Since 2013, from the secure space at Sacem.fr, all members can consult the
A broader range of servicesFiling works online, exclusive services, consultation of broadcast reports... Sacem strives to offer ever more services to members.
Early 2014, Sacem turned a new page in its history. Au-thors, composers and publishers now have the possibility
of filing their works online by connecting to their personal space at Sacem.fr. This simplifi-cation is a response to mem-bers’ expectations, wanting to be able to file their works in a few clicks from any place at any time of day or night. This appli-cation was designed and devel-oped to guarantee a high degree of security and confidentiality. Just a few days after validation, these works can be consulted online in each rights holder’s catalogue of works and Sacem’s. All data are stored in a digital safe by a reliable third party: Caisse des Dépôts & Consigna-tions.
Sacem PLUS... exclusive advantagesLike other societies, Sacem negotiated exclusive services or advantages with over twenty businesses in the form of spe-cial rates for all its members. Access to Sacem PLUS is free and the services available range from vehicle rental for tours to the purchase of musical instruments including training sessions, priority access to rehearsal venues and preferen-tial rates for trade fairs and festivals. The Society does not intend to stop there and is preparing regional deployment through offers negotiated with local businesses in different parts of France.
Consult thee offers in your personal space at Sacem.fr!
Over 8,200members subscribe to Sacem PLUS, just a year after its launch in June 2013.
They joined Sacem in 2013...
4,000new authors, composers and publishers in 2013, including
3,770 creators
and 230 publishers.
Including 450 foreign authors and composers (12%), representing 69 different nationalities.
20% women, 80% men.
Mean age of authors-composers seeking membership:
35.
information to members. Oth-er examples of simplification implemented in 2013 include the possibility for members to file type programmes online and for event organizers to re-port directly the works played in concerts or other perfor-mances. The entry of titles is facilitated by an intuitive en-gine which identifies works from the millions of data con-tained in Sacem’s documenta-tion bases.
Sacem distributes 80% of royalties collected according to the actual exploitation of works. This degree of accuracy is part of the Society’s DNA and satisfies our concern for transparency and traceability.”
reports of television channels, radio stations, discotheques and online broadcasters. This Sacem application, the first of its kind to be offered by an au-thors’ society, is an essential step forward in terms of trans-parency and the accuracy of
SACEM | ACTIVITY REPORT 2013 page 31 — DISTRIBUTION —
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Sacem Grand Prix:rewarding talentEvery year, Sacem awards those whose words, music and works have left their mark on a year, or even an epoch. For the fifth years in a row, the Sacem Grand Prix ceremony was held outside our walls and, for the first time in a legendary Hall, L’Olympia.
They left their mark on 2013:main hits in France(Ranking based on royalties distributed in 2013)
1. Ai se eu te pego – Michel Telo. S. Arcoverde/A. Cerqueira/A. Teixeira/A. Da Fonseca/K. Vinagre/Ltda Editora Musical Panttanal2. Paradise – Coldplay. W. Champion/J. Buckland/C. Martin/G. Berryman/B. Eno/Universal Music Publishing MGB Ltd/Opal Music3. Somebody that I used to know – Gotye. W. De Backer/L. Bonfa/Op Shop Songs Pty Ltd/Unichappell Music Inc4. Where have you been – Rihanna. L. Gottwald/R. Dean Esther/R. Walter Henry/R. Wiles Adam/A. Mcelhinney/Prescription Songs Llc/Oneirology Publishing/Kasz Money Publishing/Emi Music Publishing Ltd/Songs Of Universal Inc/Dat Damn Dean Music/Hill And Range Southwind Mus SA5. Danza Kuduro – Lucenzo. F. Barkati/P. De Oliveira/F. Toigo/Big Ali/W.Landron/Hella Publishing/Together Publishing Ltd/Crown P. Music Publishing/Emi Music Publishing France/Because Editions6. Tacata – Tacabro. M. Romano/S. Sapienza/M. Rodriguez/DNL Publishing7. Ma chérie – DJ Antoine feat. The beat shakers. F. Antoniali/A. Konrad/M. Pozzi/B. Krstajic/D. Krstajic/100 Percent Hype8. Levels original – Avicii. T. Bergling/A. Pournouri/E. James/L. Kirkland/P. Woods/Emi Music Publishing Scandinavia Ab/Ash Pournouri Publishing/Figure Music Inc9. Balada – Gustavo Lima. S. Silva Cassio/Sistema Globo Edicoes Musicais Ltda10. Turn me on – David Guetta feat. Nicki Minaj. D. Guetta/E. Dean/O. Maraj/G. Tuinfort/What A Publishing Ltd/Songs Of Universal Inc/Money Mack Music/Harajuku Barbie Music11. Rayos de sol – Jose De Rico. R. Mendez/H.Leon/Roster Publishing SL12. Someone like you – Adele. Adele/D. Wilson/Melted Stone Publishing Ltd/Chrysalis Music/Sugar Lake Music Llc13. Whistle – Flo Rida. T. Dillard/D. Glass/J. Franks/A. Mobley/B. Isaac/M. Thompson/Sony Atv Tunes Llc/Ego Frenzy Songs/J. Franks Publishing/Artist Publishing Group West/Artist 101 Publishing Group/Reach Music Publishing Inc14. Starships – Nicki Minaj. O. Maraj/R. Yacoub/N. Khayat/C. Falk/W. Hector/Warner Chappell Music Publishing Ltd/Money Mack Music/Harajuku Barbie Music/Songs Of Redone/2101 Songs15. Sexy and I know it – LMFAO. G. Robertson/S. Gordy/K. Oliver/D. Listenbee/E. Beck/Hi Mom I did it Music/Chebra Music16. Payphone – Maroon 5. A. Malik/B. Levin/J. Schuster/A. Levine/D. Omelio/C. Thomaz/Maru Cha Cha/Matza Ball Music/Where Da Kasz At/Universal Music Careers/Sudgee Music/Bmg Ruby Songs17. Des ricochets – Collectif Paris Africa. F. Chateau/L. Florence/P. Guirao/Sony Atv Music Publishing France/Mademoiselle Aya/Dooble Aa18. Titanium – David Guetta feat. Sia. D. Guetta/N. Wall Van De/G. Tuinfort/K. Furler Sia/What A Publishing Ltd/Emi Music Publishing Ltd/Long Lost Brother Management Ltd/Talpa Music Bv19. International love – Pitbull feat. Chris Brown. P. Biker/S. Hurley/Pitbull/C. Kelly/C. Schack/Dos Duettes Music/Pitbull S Legacy/Studio Beast Music/Warner Tamerlane Publishing Co/Notting Hill Music Ltd/Kobalt Music Services Ltd20. Party rock anthem – LMFAO. S. Gordy Husten/S. Gordy Kendal/D. Listenbee/P. Schroeder/Global Talent Publishing/Nu80’S Music Llc
Sacem members
2013 Sacem Grand Prix World music: Gilberto GilJazz: RomaneMusic for video: Bruno FontaineSymphonic music, young composer: Frédéric VerrièresSymphonic music, career: Alain KremskiAudiovisual author-director: Anne DörrHumour: Liane FolyElectronic music: Wax TailorSacem repertoire for export: ZazFrancis-Lemarque Prize: RoverMusic publishing: Remark Music, Marc LumbrosoRolf-Marbot Prize for song of the year: Formidable, StromaeChanson française, creator-performer: Étienne DahoChanson française, creator: Charles DumontSpecial Sacem Prize: Serge Lama
For photographs and videos of the ceremony, go to Sacem.fr.
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— BEING ASSERTIVE —
Sacem all over the world
WAGNER, VERDI,
STRAVINSKY…
GILBERTO GIL, STROMAE,
ANGÉLIQUE KIDJO…
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Sacem regularly adapts its strategy to reinforce its competitiveness and power of at-traction with
members all over the world. This strategy requires the Society’s increasing presence in the fights to defend the future of copyright and authors’ rights. This also en-tails reinforcing its resources and investments, especially in ICT, to withstand the explosion of Internet-related data. Modern-ization of IT goes hand in hand with the progression of revenue from the online sector and is of vital importance for a modern Society which is an international
Sacem open to the worldRecognized worldwide for the relevance and effectiveness of its model, Sacem also has a determinant role in defending authors’ rights. It asserts itself as a modern society, whose influence on the world scene has never stopped growing.
reference for the collection of royalties. The permanence of Sacem’s repertoire, second worldwide after the An-glo-American repertoire, was confirmed in 2013, with virtual stability of international collec-tions despite the high value of the euro, which weighed on the payment of royalties from abroad.
Ambassadors of copyright/authors’ rights Sacem’s prestige is based on its increasing presence worldwide, thanks to an overall vision and proactive strategy. Thus, Jean-Mi-chel Jarre, an eminent Sacem member, was elected President
of CISAC (International Confed-eration of Authors’ and Com-posers’ Societies) in 2013. An-other famous member, the singer-songwriter Angélique Kidjo of Benin, was elected Vice President alongside four other artists from all over the world. These nominations illustrate CISAC new ambition to rein-force its legitimacy and global visibility the better to defend Creation, an ambition strongly supported by Sacem. The same holds true for GESAC (Europe-an Grouping of Authors’ and Composers’ Societies), which has a determinant role in de-fending copyright and authors’ rights with the European au-thorities.
Sacem instigates the export reform At Sacem’s initiative, private players in the music industry met in a working group on reforming music exports (GREM). After abandoning the project for a National Centre for Mu-sic, which provided for additional public resources for ex-port, the purpose was to resume discussions on a sector vital for the activity of businesses involved in the industry. The reform of the export system was viewed as a priority for all the private and public players contributing to the funding of its tools, the Bureau Export de la Musique and Franco-phonie Diffusion. The merger of these two organizations, effective since 1 January 2014, will be accompanied by a re-organization of the governance and review of its missions to optimize the new entity’s support for the export activity of music businesses.
Sacem is at the heart of the global equation for authors’ rights.”
Export of Sacem repertoire in ten countries (m€)
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Trends in 2012-2013 for royalties paid by Sacem for the exploitation of its repertoire by Continent
South America:
+23%North America:
+8%Europe:
– 3%
Angélique Kidjo, Sacem member.
Gilberto Gil, Sacem member.
Zaz, Sacem member.
SACEM | ACTIVITY REPORT 2013 page 37
2013: Top 20 French hits abroad(Ranking of exports in 2013 for exploitation in 2012)
1. Mr Saxobeat – Alexandra Stan. V. Prodan/A. Nemirschi/Play On 911/Media Pro Music Entertainment 2. Comme d’habitude – Claude François/Franck Sinatra/Paul Anka… C. François/J. Revaux/G. Thibaut /Nouv Barclay/Jeune Musique Éditions3. Danza Kuduro – Don Omar feat. Lucenzo/F. Barkati/P. De Oliveira/F. Toigo/Big Ali/W. Landron/ Hella Publishing/Together Publishing Ltd/Crown P. Music Publishing/Emi Music Publishing France/Because Editions4. Hello – Martin Solveig/Dragonette. M. Solveig/M. Sorbara /Temps d’Avance/Emi Music Publishing France/Dragonette Publishing inc5. Les feuilles mortes – Yves Montand. J. Kosma/J. Prévert/ J. Enoch/Enoch Cie6. Le marchand de bonheur (1) – Les Compagnons de la chanson. J.-P. Calvet/J. Broussolle/Premiere Music Group7. Without you – David Guetta feat. Usher. D. Guetta/F. Riesterer/ G. Tuinfort/C. Taio/Usher/Rico Love/What A Publishing Ltd/Rister Prod/Ur Iv/Emi April Music Inc/Foray Music8. I gotta feeling – Black Eyed Peas. D. Guetta/F. Riesterer/Will I Am/S. Ferguson/J. Gomez/A. Pineda/What A Publishing Ltd/Rister
Editions/Will I Am Music Inc/Cherry River Music Co/Headphone Junkie Publishing Llc/Tab Magnetic Publishing/Jeepney Music Inc/Bmg Rights Management/Emi Music Publishing France9. La vie en rose – Édith Piaf. É. Piaf/Louiguy/Éditions Beuscher 10. Tableaux d’une exposition – M. Ravel. Hawkes And Son (London) Ltd11. YMCA – Village People. H. Belolo/J. Morali/V. Willis. Black Scorpio12. Un homme et une femme – Francis Lai. F. Lai/P. Barouh Saravah Éditions musicales/Éditions 2313. Mas que nada – J. Menezes. Peermusic Do Brasil Edicoes Musicais Ltda14. Born to be alive – Patrick Hernandez. Saturn15. Symphonie n° 5 en ré mineur op/47 – D. Chostakovitch. Le Chant du Monde16. Libertango – Astor Piazzolla. A. Piazzolla. Musicali Curci Edizioni/Eleven Music17. Titanium – David Guetta feat. Sia. D. Guetta/N. Wall Van De/G. Tuinfort/K. Furler Sia What A Publishing Ltd/Emi Music Publishing Ltd/Long Lost Brother Management Ltd/Talpa Music Bv.18. Pierre et le loup – S. Prokofieff. Le Chant du Monde19. Higher – Taio Cruz feat. Kilie Minogue. Wilhelm/J. Cruz. Di Piu/Emi Music Publishing Ltd20. Turn me on – David Guetta feat. Nicki Minaj. D. Guetta/G. Tuinfort/E. Dean/Nicki Minaj What A Publishing Ltd/Songs Of Universal Inc/Money Mack Music/Harajuku Barbie Music
(1) The royalties come exclusively from Japan and correspond to the use of the work in an advertising campaign broadcast on television.
David Guetta, Sacem member.
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since, by the month of June, the Council of European Trade Min-isters decided not to include cul-tural and audiovisual services in the negotiation mandate. Thanks to the massive mobiliza-tion of audiovisual and music creators and to the support of the French Government, the Cultural Exception was main-tained.
Collective management: a new directiveThroughout 2013, Sacem was at-tentive and vigilant in keeping up with the preparation of a new Eu-ropean directive on Collective
Defending cultural diversity in EuropeCulture symbolizes the future of Europe. With its cutting-edge sectors and millions of non-relocatable jobs, it represents a key economic driver for the European Union. This creative Europe is defended with conviction by Sacem, which fights every day for the rights of authors, composers and publishers, for the Cultural Exception and Collective Management on the European scene.
In 2013, the European Agenda was particularly busy. Last March, the Cultural Exception, one of the most important instruments in Europe-
an cultural policy, was called into question. The European Commis-sion envisaged including cultural and audiovisual services in its mandate for negotiating a Free-Trade Agreement between the Eu-ropean Union and the United States.
The Cultural Exception: 5,000 artists mobilizedDespite the ratification in 2005 by 126 countries of the Conven-tion for the Protection and Pro-motion of the Diversity Cultural Expression, despite the tradi-tional exclusion of cultural and audiovisual services from the field of bilateral negotiations and the WTO, the danger of see-ing Culture treated like all other goods reappeared in a most wor-rying way. On Sacem’s initiative, over 5,000 artists from all back-grounds, united in the name of Creation to speak out on behalf of the music industry, declared their indefectible attachment to Cultural Diversity and their will to weigh in the European debate. This mobilization won out,
The Cultural Exception encourages and promotes the diversity of works and aesthetics.” ©
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Management. Adopted by the European Parliament and Coun-cil in February 2014, this direc-tive provides for harmonization from the top down of the operat-ing rules for all European collec-tive management societies. Sa-cem had already anticipated most of these changes, welcoming the fact that the directive once again placed creators at the centre of their collective management soci-ety by guaranteeing their active participation in its supervision and governance. Another im-provement: the directive aims to facilitate pan-European and multi-repertoire licensing for the uses of musical works by online music services. This is what Sa-cem already does via Armonia Online (see page 23). The text also
The explosion of digital media in recent years proves the cogency and modernity of the private copy system created in France by the Lang Law of 1985.”
recognizes the importance of the social and cultural role collective management societies which are the main ambassadors for Cul-tural Diversity.
Private copying: reinforced legitimacy 2013 witnessed the progression of resources from private copy-ing thanks essentially to large-scale regularizations: on one hand, the payment of sums due for previous years by operators offering new generations of de-vices; on the other, conviction of one such operator, opposed on principle to paying any remuner-ation pour private copying.Since its adoption in France thanks to the Lang Law in 1985, the private copying levy has prov-
en its modernity by enabling cre-ators to recover royalties due to them for the permission they give users to copy their works. Three-quarters of levy paid by con-sumers purchasing recording equipment (hard drives, USB flash drives, tablets...) are redistributed to creators, while the remaining 25% goes to supporting creation, the diffusion of live performances and professional training.Although private copying has been under attack by certain equipment importers who con-
tinue to seek the dismantle it in France and the rest of Europe, creators were successful once again, in 2013, when the Court of Justice of the European Union delivered a positive verdict in a Austrian case on the funding of Cultural Projects, thereby rein-forcing the legitimacy of the pri-vate copying levy.In a political extension of this le-gal victory, the Castex report was adopted by the European Parlia-ment in February 2014. It had been the subject of negotiations
for several months. Alain Cham-fort, a Sacem Board member, had participated in a public hear-ing at the European Parliament organized by the MEP Françoise Castex on her report.But the fight to defend the pri-vate copying levy, a guarantee of Cultural Diversity and our coun-try’s artistic vitality, is far from over. Thus, Sacem remains mo-bilized alongside other authors’ societies to preserve the system, enforced in 24 countries in the European Union.
May Culture become a priority for Europe!In December 2013, before the ink used to print the Collective Management Directive was completely dry, the European Commission launched a public consultation on the future of copyright/authors’ rights which should give rise, in the long term, to a white paper. Through eighty highly technical questions, everything was potentially called into question (the ter-ritoriality of authors’ rights, the principle of the country of destination, the list of excep-tions, duration of protection...). On the initiative of the European Composers and Song-writers Alliance (ECSA), creators from France and the world over mobilized to defend copyright and authors’ rights and, more broadly, Cultural Diversity. In addition to their frequent participation in the consultation, they obtained over 29,000 signatures for the online petition at www.creatorsforeurope.eu.
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CREATION of Cultural Projects in 1963.
1,597projects supported in 2013.
Fifty years of Cultural Projects
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tor, it offers aid in the production of music original publishers, captation of live performances and production of documentary films: au-thor-composers’ portraits, great performers’ careers... Eleven documentaries received sup-port from Sacem in 2013.
Career developmentAt an earlier stage in the creative process, the Career development system contributed, in 2013, to the emergence and professional-ization of twenty authors and composers. This support can take the form, according to needs, of writing grants, aid for the production of phonographs, residences, scenic productions or assistance for export.
Creating with passion... Since 1963, Sacem has had a policy of active support for musical creation, the key asset for young creators.
From a work’s incep-tion to its diffusion, Sacem provides sup-port to those who participate in artis-tic life, its diversity
and vitality all over France. Thus, it prepares the fertile ground for tomorrow’s cre-ations: song, jazz, rock, world, contemporary, electronic, ur-ban, video music, poetry, hu-mour... Sacem Cultural Projects support all repertoires. It is of direct benefit to creators (assis-tance for self-production, career support, optimization fund...), as well as auditoriums, festivals, producers (dedicated assistance systems) which schedule and promote these artists. In 2013, despite a rather unfavourable economic context and the per-sistent uncertainty regarding funding from private copying (see pages 38-39), Cultural Proj-ects supported as many projects (1,597) as the previous year.
Production, self-productionIn the sector of Musiques Actu-elles [today’s music], Sacem provides substantial aid for self-production: in 2013, 49 self-produced recording proj-ects were able to exist thanks to Cultural Projects. Sacem also have a system for supporting preproduction to assist pub-lishers in the work of develop-ment. For the audiovisual sec-
Live PerformanceBroadcasters receive special at-tention. Without them, support-ing creation would be meaning-less. Sacem provides aid for the production of shows, concerts and tours, as well as festivals and orchestral seasons, thereby covering all repertoires (con-temporary music, jazz, Mu-siques Actuelles, humour, young audiences, audiovisual works...). It plays a major role in the export of young talents and offers special support for en-
They will write the future...Transmitting and sharing. All children and teenagers without distinction must be able to benefit from access musical crea-tion, attending performances, learning to play an instrument and meeting artists. Through it Cultural Projects, Sacem has been committed for years to a policy of artistic education. In 2013, among other projects, it supported several operations dedicated to young audiences at Théâtre du Châtelet: disco-vering the repertoire, workshops for artistic practices, major academic project (musical comedy: “Pourquoi j’ai mangé mon père”). For Creation, it supported creation workshops with schoolchildren and the Île-de-France National Orches-tra and the Orchestra of Lille.
sembles and specialized train-ing. Many auditoriums and the-atres, priceless venues for artists and audiences, also receive sup-port from Sacem, as do struc-tures for information and the diffusion of music.
Training and professionalization Making first steps in the profes-sional world of music can turn out to be complex. This is why Sacem is associated with Studio des
Cultural Projects in 2013
Live Performance
Aid for Creation and Production
Aid for Training
100%58%
34%
8%
€19.5mThis is the budget dedicated to Cultural Projects in 2013.
Offering career support means opening the field of possibilities to emerging talents.”
SACEM | ACTIVITY REPORT 2013 page 45 — BRINGING SUPPORT —
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Variétés to offer training mod-ules to young creators. It is also a partner in academic curricula and schools of cinema, and supports many associations and training organizations, workshops, master classes, competitions, awards cer-emonies...
Local and international reputationSacem Cultural Projects are vast in scope. All over France, in a de-centralized way, the regional net-work is developing. In 2013, over 460 festivals and 105 auditoriums featuring Musiques Actuelles re-ceived aid from the regional net-work. To guarantee the interna-tional reputation of musical creation, Cultural Projects are also rolled out beyond French borders. This entails, in particu-lar the implementation of bilater-al and pan-European pro-grammes through financial support combined with regulate collaboration with the Export Bu-reaux of French music and partic-ipation in foreign festivals and international markets.
Emergence: Maissiat, Charles-Baptiste and Aline at the Polyssons Festival, in Montbrison.
International: Mounira Mitchala and Sia Tolno at the Babel Med Music Festival, in Marseille.
Creation: L’Atelier de Gaspar Claus with Barbara Car-lotti, Youssoupha and Rover, at Le Printemps de Bourges; Yves Jamait; Les Scènes Sacem on Allain Leprest with Jean Guidoni and Romain Didier, at Les Francofolies de La Rochelle; Les Scènes Sacem on Boby Lapointe with Nicolas Jules, Presque Oui, Imbert Imbert, at Les Franco-folies de La Rochelle; Tribute to Charles Trenet with Lo Cor de la Plana and Moussu T e lei jovents aux Suds, in Arles.
Song: five soirees organized at Les Trois Baudets.
The French Beat: professional soiree organized Sacem Cultural Projects, Montréal Électronique Groove and Cosmopolis Lisbon, a promotional and broadcast opera-tion targeting young creators, DJs, producers, represen-tatives of electronic music at Le Divan du Monde. With JFL (Canada) and Everydayz (France).
Chantier des Francos Tour: La Maroquinerie (Paris), La Poudrière (Belfort), Le Tampon (La Réunion), Le Ro-cher de Palmer (Cenon), Le Fil (Saint-Étienne) and Le VIP (Saint-Nazaire)
Franco-American Cultural Fund Created in 1996 by Sacem, the FCFA (Cultural Fund Fran-co-American) is a unique collaboration with American guilds —WGA (Writers Guild of America) and DGA (Direc-tors Guild of America)— and Hollywood studios MPA (Mo-tion Picture Association), funded by resources from private copying. Its purpose is to promote the creation and resto-ration of films, encourage talent and foster dialogue between French and American professionals. The 17th Col-Coa, the French Film Festival held in Los Angeles, pre-sented 57 films and attracted over 19,000 spectators. With La Cinemathèque Française and the Film Foundation, the FCFA supported the restoration of four films, including René Clément’s Purple Noon and Edgar G. Ulmer and Anne Green’s Her sister’s secret.
A site for all projectsThe site monprojetmusique.fr was created in 2012 by Sacem and the main collective management so-cieties and professional organiza-tions in the field of music. Today, it is the reference site dedicated to funding professional music pro-jects: for all musical genres over the entire territory! With just a few clicks on monprojetmusique.fr, it is possible to access over 150 aid programmes for such projects.
What do Maissiat, Dominique Fillon, Gaël Faure or Buridane have in common? They each participated in Les Scènes Sacem in 2013!”
559music festivals received support in 2013.
FCFA Board members, left to right: Chris Marcich (MPA), Paris Barclay (DGA), Katherine Fugate (WGAW), Jean-Noël Tronc (Sacem), Jay Roth (DGA) and Howard Rodman (WGAW).
Les Scènes Sacem in 2013...
Élephant, Sacem member.
Superets, Sacem member.
Cabadzi, Sacem member.
Buridane, Sacem member.
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Condensed balance sheet
ASSETSGross
Depreciation & Amortization
2013 in € Net
2012 in € Net
Variationin %
FIXED ASSETS 237,159,506.65 129,433,769.56 107,725,737.09 103,006,117.18 4.58Intangible assets 90,703,484.82 50,026,421.10 40,677,063.72 36,679,396.05 10.90Tangible assets 116,165,593.37 79,407,348.46 36,758,244.91 36,075,697.00 1.89Non-current assets 30,290,428.46 – 30,290,428.46 30,251,024.13 0.13
CURRENT ASSETS 1,212,562,001.37 5,142,634.33 1,207,419,367.04 1,200,442,534.64 0.58Users – delegations – foreign societies
192,383,140.97 – 192,383,140.97 204,188,454.22 – 5.78
Members 30,391,866.77 1,866,039.92 28,525,826.85 31,656,551.78 – 9.89Other trade receivables 2,304,594.13 – 2,304,594.13 2,500,069.97 – 7.82Sundry receivables 30,791,149.17 1,544,984.38 29,246,164.79 42,054,350.72 – 30.46Investment 805,093,058.90 1,731,610.03 803,361,448.87 852,304,960.73 -5.74Funds available 149,500,417.68 – 149,500,417.68 62,999,234.16 NS (1)
Deferred expenditure 2,097,773.75 – 2,097,773.75 4,738,913.06 – 55.73
TOTAL 1,449,721,508.02 134,576,403.89 1,315,145,104.13 1,303,448,651.82 0.90
LIABILITIES 2013en e
2012en e
Variationen %
CAPITAL 11,409,298.85 10,874,795.96 4.92
PROVISIONS FOR LIABILITIES AND CHARGE 2,738,197.19 2,853,726.70 – 4.05
DEBT 1,300,997,608.09 1,289,720,129.16 0.87Deposits received (donations and legacies, prize allowances) 2,872,425.02 2,751,754.64 4.39Financial debts 285.66 98.46 NS (1)
Royalties collected throughout the distribution process 777,509,993.08 785,199,673.58 – 0.98Users – delegations – foreign societies 4,585,009.65 5,270,985.40 – 13.01Unpaid royalties notified to users 158,761,011.76 164,340,801.90 – 3.40Members 36,994,909.45 33,093,869.86 11.79Operating debts 66,376,264.78 63,858,784.02 3.94Sundry debts 18,821,084.97 17,400,680.15 8.16Excess margin on social programmes 222,665,779.81 210,393,872.77 5.83Support to creation (25% private copying) 12,410,843.91 7,409,608.38 67.50Unearned income – – NS (1)
CAPITAL 1,315,145,104.13 1,303,448,651.82 0.90
(1) Not significant.
ORIGIN OF ROYALTIES 2013(M€)
2012(M€)
Variationin %
GENERAL RIGHTS 281.7 273.2 3.1Concerts, spectacles, dance 142.3 134.2 6.0Background music, discotheques 122.2 118.9 2.8Cinema 17.2 20.1 – 14.4
AUDIOVISUAL MEDIA 236.4 236.9 – 0.2Television 185.8 186.7 – 0.5Radio 50.6 50.2 0.8
NTERNATIONAL 80.0 82.0 – 2.3
INTERNET 79.6 68.2 16.7
PRIVATE COPYING 67.0 51.3 30.7
PHYSICAL MEDIA (phono, video) 65.4 70.5 – 7.3
INTERNET 24.7 20.5 20.5
TOTAL 834.8 802.6 4.0
DISTRIBUTION OF ROYALTIES 2013(M€)
2012(M€)
Variationin %
DISTRIBUTION TO RIGHTS HOLDERS 675.8 662.8 2.0For Royalties 628.3 616.1 2.0For Social Action 43.9 44.0 – 0.2For Cultural Projects 3.6 2.7 31.8
Simplified Profit & Loss Account
COSTS 2013 in € Net
2012 in € Net
Variationin %
I – OPERATING COSTS 200,281,769.58 195,729,785.25 2.33External purchases and costs 46,127,897.76 47,832,705.03 – 3.56Taxes 4,351,922.89 3,789,354.66 14.85Personnel costs 133,025,778.18 130,827,274.95 1.68Other operating costs 4,167,691.78 3,681,583.40 13.20Depreciation expense 10,639,688.12 9,197,637.64 15.68Provision expense 1,968,790.85 401,229.57 NS (1)
II – EXTRAORDINARY COSTS 262,964.68 994,773.44 NS (1)
TOTAL COSTS FOR THE YEAR (I + II) 200,544,734.26 196,724,558.69 1.94
END-OF-YEAR EXCESS ASSESSMENTS – – NS (1)
AGGREGATE TOTAL 200,544,734.26 196,724,558.69 1.94
INCOME 2013en e
2012en e
Variationen %
I – OPERATING INCOME 165,168,146.72 158,101,083.83 4.47Recovery and re-invoicing of costs 25,543,034.49 24,620,044.83 3.75Deductions from royalties 139,102,849.28 132,340,531.86 5.11Other operating income 1,238.15 5,299.45 – 76.64Reversal of provisions 521,024.80 1,135,207.69 – 54.10
II – FINANCIAL INCOME 33,214,752.98 33,849,197.56 – 1.87
III – EXTRAORDINARY INCOME 321,578.70 797,634.08 NS (1)
IV – TRANSFER OF EXPENDITURES 1,672,047.10 1,245,697.14 34.23
END-OF-YEAR DEDUCTION DEFICIENCY 168,208.76 2,730,946.08 NS (1)
AGGREGATE TOTALL 200,544,734.26 196,724,558.69 1.94
(1) Not significant.
— FINANCIAL RESULTS —
Sacem – Non-trading company with variable capital – 775 675 739 RCS Nanterre – Graphic design: 21x29,7 – Cover photo: Renaud Philippe/Stigmat Photo/Picture Tank
Discover aid from Sacem: the projects and their beneficiaries
Consult the details of aid and projects at Sacem.fr, thumbnail Cultural activity > New > Support for projects.
In 2013, 1,595 projects received support thanks to the 25% share of royalties from private copying, amounting to nearly €16 million supplemented by a €3.6 million statutory contribution from Sacem.
In the past ten years, over 15,000 artistic projects have received support from Sacem.
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