Data

YouTube Exec Says 25% of All Viewer Hours Are Spent on Music

YouTube chief business officer Robert Kyncl has revealed that a full 25 percent of YouTube viewer hours are spent on music, with another 25 percent deriving from media companies and the remaining half coming from user-generated content. Factoring based upon Google higher-up Philipp Schindler’s statement that there were “a billion-plus hours of video watched every day” on YouTube as of Q2 2021, users spend over 250 million hours daily enjoying music on the service.

Source: YouTube Exec Says 25% of All Viewer Hours Are Spent on Music

Spotify Playlist Curators Says ‘Copyright Abuse’ Is On the Rise

Curators say playlists are being reported for a variety of reasons, though oversight is lacking and claims aren’t properly investigated. Playlists can be reported for a variety of reasons, including sexual, violent, deceptive, or hateful content. As soon as a report is received, the playlist’s metadata is removed immediately. That includes the title, description, and any custom playlist image. No internal review process stops the metadata removal from happening once a single report is received.

Source: Spotify Playlist Curators Says ‘Copyright Abuse’ Is On the Rise

Nielsen’s Grip Over TV Ratings Loosens Amid Streaming Boom

For years, Nielsen Holdings PLC has been synonymous with measuring U.S. TV ratings, which provide audience estimates that networks use to sell commercial time and reassure advertisers they got what they paid for. But Nielsen’s hold is loosening as streaming gains steam and traditional broadcast and cable TV lose viewers.

Source: Nielsen’s Grip Over TV Ratings Loosens Amid Streaming Boom

How’s Hollywood to Plan When It Doesn’t Know Who’s Watching What?

With box office numbers way down in the pandemic and streaming numbers hard to come by, the film industry is often unable to determine whether a movie is a hit or a miss. But studio bosses need something, anything to guide them as they make billion-dollar judgment calls for the seasons ahead.

Source: How’s Hollywood to Plan When It Doesn’t Know Who’s Watching What?

VEVA Sound, PPL Target Unpaid Royalties in Metadata-Focused Deal

PPL and 19-year-old VEVA Sound just recently announced and detailed their partnership, which is designed to “make it easier for performers to be properly credited on recordings and to receive the payments they are entitled to.” Built and tailored for artists, VEVA Collect encourages musicians, songwriters, and producers to frontload their music metadata and credit specifics before checking in via the platform’s app while in the studio, thereby ensuring that they’re credited on the work(s) at hand.

Source: VEVA Sound, PPL Target Unpaid Royalties in Metadata-Focused Deal

Spotify Removing Exclusive Podcast Episodes From Other Platforms

Spotify is removing exclusive podcast episodes produced by studios it owns from other platforms – further dividing the podcast landscape. Spotify doesn’t get enough data if you listen to its shows via Pocket Casts or another app. The company admits as much in the announcement post to stave off angry emails about the change.

Source: Spotify Removing Exclusive Podcast Episodes From Other Platforms

Why Are (Some) Record Labels and Music Publishers Still Only Reporting Every 6 Months?

Streaming has massively complicated the whole royalties process with huge data sets now having to be processed and billions of micro-payments collated. Of course, that’s intimidating and it’s right to spend time making sure the calculations are accurate but the technology now exists to take the pain out of the process.

Source: Why Are (Some) Record Labels and Music Publishers Still Only Reporting Every 6 Months?

Studying Gender Representation and the Contemporary ISNI Identifier

The agency is convening “a small advisory group,” which is being assigned to review the ISNI’s current policy and emerging best practices in gender identification. The advisory group will be looking for “shortcomings” in the current approach. This group of advisers is to be drawn from “ISNI sectors” including book publishing, rights organizations, libraries, and the music industry, as well as from “affected groups.”

Source: Studying Gender Representation and the Contemporary ISNI Identifier

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