Dear Bernard Brochand, Dear President, Dear Paul Zilk,Dear Director of MIDEM, Dear Dominique Leguern,Ladies and Gentlemen, Artists and Professionals in the Music Industry,Dear Friends,

It is a great pleasure and honour for me to inaugurate
this 45th edition of Midem.

I know the diversity of the meetings, the richness of the exchanges at which
lends itself to this formidable melting pot, this international reference
Market for the recording industry and music publishing; I have had since then
morning a glimpse by visiting some of the many stands.

I am delighted that with the «French vibes» operation, French creativity
this year in honour and I will listen with great pleasure in some
the interventions of the artists here present. I know that such a
shock wave, these «French-style vibrations» - perhaps we should say these
vibrant French? - have toured the world several times. This beautiful
success is very comforting in the current context, as are the
other international successes monitored and supported by the export office
of French Music.

I would like to pay tribute to the remarkable work of the Export Bureau, which
would not be what it is today without the energy, tenacity, intelligence of
its founder Jean-François Michel.

Many other encouraging signs could be cited, such as the
unprecedented growth in digital music revenues, or
the rise of paid subscriptions, a practice of “consumption” of the
music obviously full of promise for the whole industry.

But I know that the industry is not yet out of the woods, that the decline
continued physical market is not to date offset by the growth of the
digital music and therefore the music market has
further back last year.

Conscious of your anxieties, of your impatience, attentive to your
legitimate inquiries, I want to tell you the determination that is the
to help you create the conditions for a future
renewal of music industries.

With regard to the action of the public authorities, through the start-up
a series of promising projects, 2010 has been, I believe, a
it, the year of foundations, and 2011 will be the year of achievements.

The establishment of the Hadopi, the founding act, was accompanied by the
implementation of the recommendations of the “Creation and Internet” mission,
in the forefront of which the music card, and mediation on the
management of online music rights. We have thus
tools that, I hope, will soon enable the entire
«getting out of the water», taking full advantage of this great relay
the growth of digital music in all its forms.

“He will never get there,” it was loudly whispered when he
A year ago, I undertook, alongside the young Hadopi, the work of
of the law. And indeed, the legal issues, the difficulties
The European Parliament and the
such an innovative device for the protection of creators in the age
digital, balanced and respectful of individual freedoms.

Today however, far from the announced failure, and from the catastrophe
technological promise, the Hadopi is an institution in working order, which
already more recommendations than its more
of South Korea. An institution that is growing
and has already announced the start of the second phase of the
the graduated response, the sending of the second recommendation. A
institution, which invents day after day this essential pedagogy
responsibility in the digital age desired by the legislator and the
President of the Republic.

This pedagogy is already producing effects, and we can soon
measure finely. Awareness of the ravages of piracy, the idea
that culture has a value, and even a price, the perception of the crucial role
played by copyright in the eco-system of creation: these ideas make
their way through Hadopi. I am therefore convinced that the High Authority
will help change the behaviour of as many
Internet users, and this is the main point. The most recent studies confirm
three-quarters of Internet users will stop downloading if they
receive a referral.

I also rejoice, [dear Marie-Françoise Marais], at the future
contribution of the High Authority to the observation and development of
the legal offer, through the «Hadopi» label but also the role that
is responsible for monitoring the commitments made in the mediation

The music card was also one of the major projects of the year
I see this as an essential measure of support and
of the music industry towards the digital, which
will help, I am convinced, to re-accustom young amateurs of
music to turn to a legal offer now abundant and
attractive. That’s why I fought so hard, both in Paris and Brussels,
so that the music card can see the light of day in less than a year.
why I will not spare my efforts, nor my teams, to
so that this measure quickly expresses its full potential.

With 50,000 cards sold, we have confirmation that the card
music is a good product. This result is however below our
hopes. To succeed in the rise of the music card, he
we must now make it better known and adjust it with
pragmatism according to the first evaluations. The illusion at all
free via illegal download is firmly anchored. It requires
response a great voluntarism; it requires a capacity no less
to adapt to what the young target audience is looking for.

We will therefore redouble our efforts.

I asked my services to work very quickly to improve
website, to make it simpler and more ergonomic. I will
Launch a wide-ranging communication campaign with important
resources, as well as awareness-raising activities in
I would also like us to consider quickly the
launch of new features, including access through
mobile phones. Finally the edition of physical cards is a track on
which we are working very seriously.

Since the beginning, the solidarity of publishers and rights holders, as well as the
ongoing dialogue with departmental teams, is one
key to the success of the operation. I hope that this mobilization
continue. I know I can count on you to
continue to promote the scheme. I also know that the 14
participating platforms will soon be joined by new players,
and I look forward to it.

Investment in the creation and renewal of
In this period of transition, it seems to me that all the
public authorities. That is why I have defended and will continue
to defend with determination the revaluation of the tax credit in favour of
of phonographic production. Despite the
cause, this is, as you know, a difficult battle in the context of
we know. So we have to put all the assets on our side by
measuring the measurement as accurately as possible. It is also a matter of better leveraging the
support for young talent and jobs
already extremely positive. I count on the
on your help: this will be very precious to me to convince of the good
The European Parliament has taken the necessary steps to ensure that the European Parliament has the necessary powers.

I am also thinking of another aspect of my support for
investment in creation: strengthening, to the tune of 10
from the IFCIC Music Industries Advance Fund.
This is now a given, with the last administrative obstacles being
This system has shown its relevance and effectiveness: its ability to
strengthening is therefore excellent news for SMEs in the sector

Finally, I would like to draw your attention to the fact that, last Monday, the
professionals, “13 engagements pour la musique en ligne”
proposed by Emmanuel Hoog, at the end of his mission on
I am particularly pleased about the rights of online music.

This agreement contains major advances in the form of
concrete measures immediately applicable.
In particular, it will promote access to the rights of
online music services, under more stable conditions, more
balanced, and more transparent.

These advances will also benefit rights holders, in particular
through the commitments made for the remuneration of performers,
time limits for payment of fees and transparency in reporting
online music operations.

I have had the opportunity to stress this before you: these commitments take
I think it’s very far-reaching. It reflects collective engagement.
in order to have innovative online music services,
based on a variety of models, driving market growth
music. It’s about making music
guarantee of the sustainable financing of creation and the value of the
internet music.

Despite the uncertainties inherent in this phase of
economic models, despite some differences in analysis, it was
that the general interest of the industry will prevail. It was
It is important for everyone to take a firm part in this united front for the
development of the online music that you knew how to build.

The success of this collective, unprecedented approach – I would like to point this out -
in the music industry, the public authorities in their
global approach to consolidate and renew the tools to support the

It allows us to open in 2011 a new cycle of reflection and
of action, which I wish to speak to you about now.

With the Hadopi laws, we had the political courage to break with the
luring free without rights for authors, with the unsustainable
lightness of the advocates of laissez-faire. Through the cycle Creation and
Internet» we have started a second stage: that of a
unprecedented mobilization for the development of a legal offer
attractive and diversified.

Alongside authors, composers, performers, and
all those - primarily producers - who take the risk of
creation, I now want to open a new major project,
funding musical diversity in the digital age.

We know the painful consequences of the crisis on the
diversity of music content production, and on renewal
talent. We also know the volatility of careers in
and the “middle-class massacre” that Pascal is talking about.
Negro in his latest work, about these artists whose talent and
the singularity are recognized but that are not profitable enough for
be sustainably supported.

It is clear that, despite efforts, the existing arrangements
remain below requirements. After having quantified these very precisely,
needs, we will have to devise new support tools,
seek complementary, innovative and sustainable financing.
All scenarios will be studied, in the utmost transparency, without
a priori, without exclusive, in order to search for the most suitable tool.

In this context, I hope that the
contribution of major Internet players, including the ability to innovate
is no longer to be demonstrated, but everyone knows that they benefit from
the presence of cultural content on the web without ensuring the
financing. To these dynamic entrepreneurs, these Internet giants,
I want to recall that they are the debtors of those who create, of those who
composed, from those who interpret and transmit cultural works.

I do not resolve myself to the idea that these claims, that your claims, remain
dead letters. I do not accept the idea of our impotence to put
contribution the dizzying revenues of online advertising that are
made in France by actors often operating from territories
tax-friendly. Alongside Christine Lagarde, and
close consultation with parliamentarians who share the same
ambition, I therefore intend to put the work back on the job, without mistake
target, but without being unduly intimidated by obstacles
The European Parliament, the Council and the Commission are in favour of this.

In my mind, this new thinking about funding diversity
goes hand in hand with the search for a consolidation of the ecosystem
sector, using a comprehensive approach that includes publishers of
and show producers. Rest assured, this is not about
create new administrative constraints, lock you in I
I just think that, as an extension of the
rich dialogue started during the «Hoog» mediation, we must think
tools to facilitate the identification of the general interest of the
and bodies that can serve as anchors for dialogue
between professionals and public authorities.

I want to share with you two other priorities for action that are important to me:

The first concerns the competitiveness of music players
digital. 2011 will be, I hope, a decisive year in the
search for a revision of the relevant Community framework
VAT on cultural goods and services. Little by little, minds are awakening.
Gradually, the work of conviction already begun on the subject is bearing fruit
and our support is growing within the
European Commission: Ms KROES, Vice-President of the
Commission in charge of the digital strategy, expressed support
reduced VAT for cultural goods and services at the Forum
of Avignon in early November. Similarly, Mrs VASSILIOU,
European Commissioner for Education and Culture, supported such a
VAT rate reduced at the Culture-Audiovisual Council on 18 November
2010 in Brussels.

The mission recently entrusted by the President of the Republic to
So Jacques Toubon is timely. We know
the European experience of Jacques Toubon and his
conviction: they will be infinitely valuable to us to promote
with our partners the idea of a reduced VAT rate, especially for
online music services.
The other priority I want to talk about is diversity of supply.
music. This is a subject that is not new, as we know. It is
I know you’re very concerned about that.

Know that I do not intend to leave unanswered the messages that you
so addressed me.

70% of French people discover new songs
radio and 58% television. Traditional media
therefore remain largely prescriptive for the general public in the
music. It is therefore a great responsibility that they
is responsible for: respecting their editorial freedom, and the choices of
programming, it is up to them to offer the listener and the
a window of access to the diversity of genres and
artistic expressions.

But the concentration of communication groups, as well as the formatting
radio and television programs devoted to the
have significantly changed the offer available to the public.

Thus, for radio, if the quota system had a real effect on the
national production, creating a virtuous circle, the question of
the exhibition of repertoires in all their diversity, and at
Today, significant listening requires great vigilance.

As far as television is concerned, it is clear that an
diverse music struggles to find its place at times when the audience is
present. You have rightly alerted me to this.

I know these issues have been studied and reported on in the past.
and even mediation. I think it is important now
to capitalise on the reflections and approaches already existing.
You can count on my full support to give a boost
decisive on this major subject.

I will quickly take up the post of President of the Supreme Council of
audiovisual (CSA) to examine the conditions under which
be reactivated this excellent initiative of the CSA that was the group
“music and media”. This “liaison” group brings together the
professionals in the music industry, the media, and the
to address these topics and to provide
appropriate solutions. I think it is important that he
fill in this office again, with a field that would include no
only radio, but also, and probably more than in the past,

Concerning the public service of television, which has a driving role and
example, the negotiation of a new Objective and Means Agreement
(COM) between the State and France
next weeks, to make significant progress on the issue of
presence of musical diversity and new talent on the antennas
of the group. It is a matter of close cooperation between France
Television, public authorities and professionals, especially those
that are grouped under the “Tous pour la musique” association.
will pay special attention to Rémy Pflimlin, whose
sensitivity to the subject.

Public access to works in all their diversity also passes
necessarily by supporting the physical distribution of the disc, the
revenue from recorded music remaining mainly there

The Intervention Fund for the Safeguarding of Crafts and Commerce
(FISAC) has been a tool for cultural businesses since 2003
and in particular the record stores. This is a tool we need
use more. Alongside my colleague Frédéric Lefebvre,
State Secretary with special responsibility for Trade, Crafts and
Small and Medium-sized Enterprises, I intend to
strengthening this mechanism, which has shown its full relevance.

Before giving the floor to the artists, I would like to have a thought for
Francis Dreyfus, whose disappearance we regret last June.
Emblematic President of the Society of Phonogram Producers
in France, Francis Dreyfus was a formidable talent scout, a
emblematic figure especially in the field of jazz, animated by a
constant concern for the general interest.

Dear friends, here are the perspectives of my support for
music industries in 2011, a year that promises to be dense and
exciting. Be assured of the sincerity of this commitment, and
the energy that I am willing to expend to achieve my goals, in the interest of
strengthening the sector and the diversity of works and creators.

Thank you.