YouTube Paid Over $6 Billion to Music Industry in Past 12 Months

Jem Aswad Senior Music Editor Phil Collins and his Genesis bandmates Tony Banks and Mike Rutherford have agreed to sell their publishing copyrights and “a mix of recorded music-income streams” to Concord Music Group, the company confirmed to the Wall Street Journal on Thursday. Sources told the publication the deal was for upward of $300 million. The deal includes the solo material of all three, most notably Collins’ multiplatinum solo albums and Rutherford’s band Mike & the Mechanics, which achieved chart success in the 1980s. The catalogs of Peter Gabriel and other former members of Genesis were not included in the deal. A rep for Concord tells Variety an official announcement will be made Friday morning.

Thania Garcia Sony Music Publishing has signed a global deal with singer-songwriter and actress Dove Cameron, who has seen major success this year following her gold-certified queer anthem, “Boyfriend.” The 26-year-old singer-actress — who won a Daytime Emmy Award for her dual role as the eponymous characters in the Disney Channel series “Liv and Maddie” — recently released her follow-up single and video, “Breakfast.”  “Dove is a brilliant songwriter – her creative authenticity has not only led to chart success, but it has enabled her to become an important voice representing the LGBTQ+ community,” said Thomas Krottinger, Sony Music Publishing VP of creative. “We’re thrilled to welcome Dove to SMP, and we look forward to supporting her in this next chapter.”

Jem Aswad Senior Music Editor Orlando Wharton has been named executive vice president of Capitol Music Group and president of Priority Records. The announcement was made by CMG chair & CEO Michelle Jubelirer, to whom Wharton will report.  According to the announcement, in his new position, Wharton will sign and guide artists across CMG’s portfolio of labels, and will relaunch the legendary Priority Records label as a dedicated home for new, developing and established hip hop artists.  Wharton will assume his positions at CMG early next year, and will be based at the company’s offices in New York. The announcement closely follows the company’s hiring of Doja Cat co-manager Gordan Dillard as EVP of A&R and artist development.

Jem Aswad Senior Music Editor Days after top YouTube exec Robert Kyncl was named as the next CEO of Warner Music Group, the company revealed in an SEC filing that he will earn approximately $15 million in his first year on the job, depending on performance targets. When Kyncl’s name was first mentioned as a potential successor to outgoing CEO Stephen Cooper, who leaves after 11 years in the role, many wondered whether the job would be sufficiently appealing for the executive who led Netflix from DVDs to streaming and has been YouTube’s business chief for much of his 12 years at the company. However, the SEC filing makes clear that the job is financially appealing: He will receive a base salary of $2 million, a target performance-based bonus of $3 million and an annual grant of performance share units with an aggregate, pre-tax value of $10 million.

Jem Aswad Senior Music Editor Since the dawn of radio, the United States has been and remains the only major country in the world where terrestrial radio pays no royalties to performers or recorded-music copyright owners of the songs it plays — a situation that is largely due to the powerful radio lobby’s influence in Congress. While the more than 8,300 AM and FM stations across the country pay royalties to songwriters and publishers, they have never paid performers or copyright holders, although streaming services and satellite radio do. On Thursday morning, Senators Alex Padilla (D-Calif.) and Marsha Blackburn (R-Tenn.) introduced the bipartisan American Music Fairness Act, which aims to rectify that situation by “ensur[ing] artists and music creators receive fair compensation for the use of their songs on AM/FM radio. This legislation will bring corporate radio broadcasters up-to-speed with all other music streaming platforms, which already pay artists for their music.”

Jem Aswad Senior Music Editor After a fast courtship, outgoing YouTube head of business Robert Kyncl has been named CEO of Warner Music Group and will replace Steve Cooper when he steps down next year.  According to the announcement, Kyncl and Cooper will serve as co-CEOs for the month of January 2023. As of February 1, 2023, Kyncl will become sole CEO of WMG and assume Cooper’s board seat on WMG’s Board of Directors. Kyncl brings strong music-industry experience to the job: YouTube is both the world’s largest video-streaming platform and the largest music-streaming platform, and he played a huge role in its negotiations with labels and publishers and generally received high marks (remarkably, considering the often-contentious relations between the two sides). He’s also pioneering force in the streaming business: Before he was chief business officer of YouTube, he led Netflix from DVDs to digital.

Thania Garcia The Recording Academy‘s Black Music Collective (BMC) has added new members to its honorary chairs and leadership council. Together, the group is committed to the “inclusion, recognition and advancement of Black music and its creators and professionals within the Recording Academy and music industry at-large,” according to the BMC. Yolanda Adams, Valeisha Butterfield Jones, Ethiopia Habtemariam and Yvette Noel-Schure will be joining returning honorary chairs Jeff Harleston, Jimmy Jam, Quincy Jones, and John Legend. New on the leadership council are Prince Charles Alexander, Jimmie Allen, Denzel Baptiste and David Biral (Take a Daytrip), Jennifer Goicoechea, Mickey Guyton, Claudine Joseph, Ledisi, Herb Trawick, Ebonie Ward and Yola.

Zack Sharf James Cameron revealed in a recent interview with The New York Times that he shut down 20th Century Fox executives when they tried to battle him over a key sequence in “Avatar.” Cameron rejected the studio’s notes to make the film shorter and to trim the movie’s flying sequences by telling executives that he directed “Titanic” and thus paid for a large portion of the 20th Century Fox studio lot. “I think I felt, at the time, that we clashed over certain things,” Cameron said. “For example, the studio felt that the film should be shorter and that there was too much flying around on the ikran — what the humans call the banshees. Well, it turns out that’s what the audience loved the most, in terms of our exit polling and data gathering. And that’s a place where I just drew a line in the sand and said, ‘You know what? I made ‘Titanic.’ This building that we’re meeting in right now, this new half-billion dollar complex on your lot? ‘Titanic’ paid for that, so I get to do this.’”

Jem Aswad Senior Music Editor When YouTube chief business officer Robert Kyncl announced late last month that he’ll be leaving the company after 12 years in the job, many observers quickly moved him to the front of the line to replace outgoing Warner Music CEO Steve Cooper, who’d announced just two months earlier that he’ll be stepping down after 11 years in the job. After all, Kyncl knows the music industry  — YouTube is both the world’s largest video-streaming platform and the largest music-streaming platform, and he played a huge role in its negotiations with labels and publishers and generally received high marks (remarkably, considering the often-contentious relations between the two sides). He’s also pioneering force in the streaming business: Before he was chief business officer of YouTube, he led Netflix from DVDs to digital, a transition that was much more complex and fraught with potential failure than he and the company made it seem.

Jem Aswad Senior Music Editor Though she’s just 22, Noah Cyrus has seen some stuff. As Miley’s younger sister, her music and acting careers launched early — at 16 and 2 (!), respectively — and she released several pop-leaning singles and EPs during her teens, opened an arena tour for Katy Perry in 2017 and was even nominated for a Best New Artist Grammy in 2021. On the less positive side, there was substance abuse, a bad relationship and lockdown isolation — but she overcame all of it, and that battle informs nearly every song on “The Hardest Part,” her long-percolating debut album, which sees her truly finding her voice in a way that her previous recordings only hinted at. Surprisingly or no, the Nashville native did it by returning home, musically speaking. Although her main collaborators here are Northern Irish producer Mike Crossey (Arctic Monkeys, the 1975) and Australian songwriter PJ Harding (Chromeo, Ruel), the sound is country-leaning, heavy on harmonies, organic instrumentation and Music Row-friendly melodies; its big, stacked harmonies recall everything from the Chicks to Boygenius.

Jem Aswad Senior Music Editor Considering their short lifespan and relatively slim discography, the Velvet Underground may be the most thoroughly excavated and documented rock band of their era: Nearly every studio and concert recording, acetate and demo has been scrutinized, digitized and optimized for the many awesome boxed sets that have been released since the world caught up with the group’s brilliance in the 1980s, a dozen-odd years after they split up. The foundation of that brilliance, of course, is Lou Reed’s songwriting, which combines a novelist’s gritty realism with equally confrontational rock music, but also includes soft, vulnerable songs like “Pale Blue Eyes” and “I’ll Be Your Mirror” — songs that are all the more poignant because you can sense, somehow, that the sensitive soul who wrote them isalso kind of an asshole.

Jem Aswad Senior Music Editor The first thing to know before seeing “Moonage Daydream,” Brett Morgen’s dazzling, exhaustive and exhausting memoir of David Bowie’s life and career, is that it assumes the viewer already knows a lot about the subject — his relevance, his influence, the brilliance of so much of his music, and the basics of his personal history. Like another recent historical film about an oft-trodden subject — Todd Haynes’ “The Velvet Underground” — it eschews the standard, chronological, done-to-death “Behind the Music”-style template that has become a predictable default for music documentaries and finds a dramatically different way to tell the story. In the case of “Moonage Daydream” — the significance of the second word of the title in this impressionistic film cannot be overemphasized — that different way is to let the man himself do all of the talking: Literally the only voiceovers heard in this 135-minute-long film are from Bowie (presenting real or conveniently fictionalized accounts of his life and work) and various interviewers. While that makes for an unusually free-form approach to structuring a documentary (and was enormously challenging for Morgen, who worked on the film for over four years and suffered a heart attack while doing it), in many ways it’s freeing: Instead of a rigid timeline or forced, overarching theme dictating the narrative, Bowie’s words do.

Jem Aswad Senior Music Editor While the title of the “world’s greenest music festival” may be impossible to determine with total accuracy, Norway’s long-running Øya is as close as it gets. The festival — which has featured Kanye West, Kendrick Lamar, Robyn, Lana Del Rey, the Cure and hundreds of Norwegian acts since it launched in 1999 — has been named an “Outstanding” honoree by the international non-profit A Greener Festival nine out of the last 10 years the awards were held, and is certified as an “Environmental Lighthouse” by the Norwegian foundation of the same name. In 2010, it even received an honorary award from Norway’s minister of agriculture for its work in promoting organic food. 

Jem Aswad Senior Music Editor Reach Music Publishing has acquired a 50% copyright interest — together with 100% of the writer’s share, including global administration rights — in the song catalog of Public Enemy’s Chuck D, one of the most influential rappers and lyricists in hip-hop history. Further terms of the deal were not disclosed. As a founding member and chief songwriter of Public Enemy, Chuck D co-wrote nearly all of the group’s songs, including such classics as “Fight the Power” (theme song to Spike Lee’s 1989 film “Do the Right Thing”), “Bring the Noise,” “Welcome to the Terrordome,” “Shut ‘Em Down,” and “He Got Game,” all of which are included in the Reach Music acquisition. In total, over 300 songs are included in the deal. 

Whether you’re a Denver Broncos fan delighted with your new quarterback or a Seattle Seahawks devotee feeling a little betrayed by your former king, there’s no denying Russell Wilson’s unparalleled instinct and athleticism on the football field. The quarterback has amassed a staggering amount of wealth since he was drafted by the Seahawks in 2012, and as he enters his 10th year in the National Football League, Russell Wilson’s net worth has quickly made him one of the world’s highest-paid athletes in the world and the third highest-paid player in the NFL.

Jem Aswad Senior Music Editor Grammy-winning producer-songwriters Hit-Boy and James Fauntleroy have signed on as  co-executive producers and the sonic creative team for the “NFT supergroup” Kingship. Together, the pair will work with Arnell, Kingship’s “Mutant DJ and Producer,” to oversee the group’s music direction and sound.  “I’m always looking to push things forward musically,” said Hit-Boy, who has worked with Beyonce, Rihanna, Jay-Z, Kendrick Lamar, Kanye West and many others, “and this is a great opportunity to do something new in the web3 space.” Fauntleroy, who’s collaborated with Beyonce, Rihanna, Drake, Nipsey Hussle and others, added, “It’s so exciting to be a part of something historical and ambitious. As a huge nerd, and music fanatic, I can’t wait to see what comes from the intersection of the web3 collectors/creatives and the entertainment creative community.”

Jem Aswad Senior Music Editor YouTube’s royalty system has long been criticized by multiple music-industry organizations for opaqueness, a lack of oversight and, many feel, insufficient payments. But a new report in Billboard makes a number of detailed allegations, supported by claims from a number of unnamed sources, who say that YouTube — which is the single largest streaming service for music in the world — has a rights-management system that is “full of errors” and “ripe for abuse,” and claim that Create Music Group, which initially established itself as a royalty-collection service for music companies, frequently collected royalties to which it is not entitled. Create co-founder Jonathan Strauss categorically denied those claims, and said the company’s claims are always guided by its clients’ deals — “CMG does not input or remove shares without authorization.” In a statement to Variety, a rep for Create said: “At Create Music Group we work tirelessly to ensure that our clients, independent artists and labels, receive all of the revenue that they are entitled to. We take that responsibility very seriously. We unequivocally deny, however, the assertion made in the Billboard article by our competitors that we “game the system,” and the data proves this out. More than 90% of the conflicts created by our competitors, over 26,000 in all, have been settled in our favor. We follow both the letter and spirit of the rules YouTube has set up for our industry and are very proud of our track record in this regard.”

Jem Aswad Senior Music Editor Anyone who clicked on this article knows that the Byrds are one of the greatest and most influential rock groups of all time: They weren’t only influenced by the Beatles, they influenced them; they showed the world that Bob Dylan songs could rock; and via their own songs like “Eight Miles High,” “So You Wanna Be a Rock and Roll Star,” “I’ll Feel a Whole Lot Better” and “Time Between,” they paved the way for countless artists that followed, from jangle-pop to psychedelia to country rock. Well, fans are getting the Byrds history they’ve always dreamed of with BMG Books’ stunning “The Byrds: 1964-67” — out Sept. 20 — which is a comprehensive oral history and a gorgeous coffee-table photo book all in one: The editors basically licensed virtually every known photo of the group from the era, sat down with surviving founding members Roger McGuinn, David Crosby and Chris Hillman and got them to share their memories of the moments, the band, the era, each other and lots more. (The book follows the group as it gradually goes from a quintet to a quartet to a trio, and leaves off before Gram Parsons’ arrival in 1968, which launched a whole new chapter of the Byrds.)

As we well know by now, Angelina Jolie is not afraid of a little legal battle. She’s back at it again — this time revealing more dirty secrets about her split from Brad Pitt as they argue over their winery!