YouTube has reportedly implemented a new approach to its digital supply chain that could help improve rights management. YouTube, the world’s largest distributor of music, has been criticized recently for its operating model which permits user uploads of tracks and albums, and responds in different ways to take-down requests from rights-holders. Continue Reading
Increasingly vocal critics of YouTube have a heroic new champion, not new to the cause, but willing to dramatically escalate its rhetoric. Five-time Grammy-winner Maria Schneider, who has testified before Congress on “safe harbor” issues that affect musicians, released two blazingly critical documents. Together they comprise the harshest and most articulate indictment of an anti-YouTube stance taken by an increasing number of music rights-holders. Continue Reading
The American Music Rights Association (AMRA), owned by music publisher Kobalt, which claims to be the largest independent music publisher in the world, reported increased earnings from both YouTube and Spotify in Q3 2015. During its first three months of administering Kobalt’s catalog in Europe, AMRA saw a 26% increase in Spotify earnings and a 34% increase in YouTube earnings for the publishing client. Continue Reading
The music industry critiques against YouTube have been joined by another influential voice. Irving Azoff, an artist manager and CEO/Chairman of Azoff MSG Entertainment, penned an open letter to the video platform with responses to YouTube’s recent blog post that aimed to address the current wave of artist and label concerns. Continue Reading
“Today, I’m happy to announce that on mobile alone YouTube now reaches more 18–49-year-olds than any network — broadcast or cable. In fact, we reach more 18–49-year-olds during primetime than the top 10 TV shows combined.”
YouTube CEO Susan Wojcicki made this announcement at an industry event targeting advertisers and agencies. Continue Reading
For the past several weeks, artists and labels have been making pointed statements about YouTube and the video platform’s financial obligations to the music industry. On Thursday, YouTube took a public stance against the charges, with a blog post penned by Christophe Muller, head of YouTube international music partnerships. Continue Reading
This week, YouTube announced the introduction of a new ad format for its videos. Bumper ads are a six-second format intended to accompany mobile viewing. These are meant to be a more “snackable” approach to advertising on the platform and they cannot be skipped. Continue Reading
Two more musicians are joining the calls for a change to YouTube’s payment systems. The New York Post reported that Blondie frontwoman Debbie Harry and Mötley Crüe cofounder Nikki Sixx are getting involved in pushes to change safe harbor rules. Continue Reading
Alphabet, the parent company for Google, reported its first-quarter financial results. CFO Ruth Porat said that “costs associated with operating our data centers including depreciation, (and) content acquisition costs, primarily for YouTube” were behind the higher spending during the period. Continue Reading
YouTube has unveiled a new talent development initiative called Foundry. This project will act as a springboard for upcoming artists, granting them access to production facilities and support as they make content for the service. The project could also be seen as a path toward bolstering YouTube’s cache of exclusive content. Continue Reading
Another voice joined the debate over YouTube, this time from the EU government. Andrus Ansip, former prime minister of Estonia and current vice president for the digital single market on the European Commission, said YouTube’s lower payments made to the music industry give it an unfair advantage over services that focus on subscriptions. Continue Reading
With the recent wave of music industry organizations worldwide releasing their data for 2015, two distinct trends have emerged. One of them is a growing dissatisfaction with the flow of money through ad-supported streaming services. Some reports just imply frustration, while others have centered on YouTube as the symbolic scapegoat for their anger about the amount of revenue generated by that type of media platform. Continue Reading