Describe your background and industry experience, and explain how it will help you contribute to the SOCAN Board of Directors?
After a career as a musician between 1998 and 2011 (in France and Canada), where I had the opportunity to sign with several record labels and perform nearly 1,500 shows (notably with QuĂ©bec group Chinatown, winner of the 2009 SOCAN Song of the Year award, RĂ©vĂ©lations Radio-Canada and nominated for a FĂ©lix award the same year), I was then able to cut my teeth in screen composing as a publisher with BAM Production. After a brief stint at Ubisoft, I felt the need to support young artists in their careers and founded Lisbon Lux, a publishing, production and management company, in 2013. We quickly devoted time to developing our screen composing division. With hundreds of meetings with music supervisors around the world, we are proud to be one of the most active French-Canadian publishers for the placement of French-language music abroad. My close relationship with artists and my knowledge of the various publishing environments (synch, screen composing, collaborations, etc.) give me a global and modern vision of today’s copyright issues. I know QuĂ©bec’s independent publishers well, and I’m aware of the realities of the industry and the changes that have taken place in recent years. I will represent them proudly on the Board of Directors and contribute to SOCAN’s future success.Â
In your opinion, what issues will be most important to SOCAN members over the next three years?
In an increasingly competitive world, we should strive to ensure that good governance is taken to its highest level. Consider fundamental changes to services, ensure appropriate technological transition and actively contribute to the QuĂ©bec Plan, which appears to be a relevant response to members’ needs. SOCAN must be aware of local and international issues, forward-looking, innovative, supportive and close to its members.Â