Letter to Fleur

Letter to Fleur

Léo Lacloche Brassens
00 the Nimbus Street
1789 songs Elysees

Ms. Fleur Pellerin
Minister of Culture

Open letter

Let me introduce myself, my name is Léo Brassens de Lacloche, author, composer, arranger, and ex interprets.
For more than thirty years, I compose songs. Like many other artisans of minor art in french in the text, I have noticed throughout my life how it is tortuous and even suicidal for a provincial penniless, without dad, without a network, with nothing to muse to expect to live from his art. Apart from singing his own compositions to a rare audience that I did for 20 years, what other possibilities for a solitary creator to publicize his work? When we know the economic weight of the music in this country we are entitled to ask some questions? It is needless to warn you on the current quality of the manufactured products of the majors because I am convinced that you have the cultural baggage in line with the post which is yours and so realize you that our language is in the bins of the star system and the music reduced to some sounds and rhythms to fashion. The song is a treasure that must be shared by as many people as possible.

For my part, I continue to compose and write because it is a necessity and I try to help other creators to make themselves known via the construction of builders of songs. Every day, I am witness to the richness of our heritage, musico-poetic, 99% unknown because ignored by the media, labels, and prevented to hatch because the annuity as SACEM maintains for a minority of heir through any economic-media networking stashed behind their barbed wire. Furthermore, the festivals subsidized by your Ministry program that very few of these artists and there is no real springboard for them while their creations deserve to be known and recognized. Beyond this flagrant injustice, it’s the heritage of the French song for future generations we want to defend. And especially like the one for the performing arts we would like a real mission of public service for little hands that create songs without the opportunity to defend them even before an audience. The intermittents du spectacle are subsidized so why not us? Finally, we would prefer that the sector be more equitable and open to various talents without going through Paris.
Public media which are paid by our taxes should not complete this task and thus fairly allocate more or less collected mannes reasonable by our very expensive Sacem. EH Yes still she.
I therefore invite you to visit the website of the “builders of songs” in order to take the measure of my words and prompt you to act in our favor.

Léo Lacloche Brassens