Canadian Musician - May/June 2017 - Page 40

how much revenue is generat- ed per thousand views. But there are multiple rights here being sliced in different ways and even if we disclose it, even then it’s pretty opaque.” In a rare instance of addressing com- plaints about transparency, Kyncl appeared to lay the blame with the labels and publish- ers. In an interview with BBC Radio last year, the YouTube CBO said fully independent artists who control all their rights and upload their music to YouTube are being paid handsomely. He used the example of Lindsey Stirling, an American violinist, dancer, and performance artist who controls her business through her own label and promotes herself through a popular YouTube channel. Kyncl claimed YouTube paid Stirling $6 million in 2015 alone. “It really depends how successful you are in driving your ship and … the flow of the money from us to you. Lindsey [Stirling] is set up directly with YouTube and sees exactly all of her consump- tion on YouTube and how much money she’s making. It’s very clear, and in other cases, maybe less so,” Kyncl told the BBC. “There are middle- men, whether it’s collection societies, publishers, labels. But also, what they do is they fund content and then they give advances, and they want those recouped. It’s just really hard when there is no transparency for the artist… I can say we’d be very happy to share that information if we could.” Many in the music industry had to stifle their indignation at Kyncl’s assertion that YouTube would be happy to be more transparent if only the labels, publishers, and collection agencies would let them. “Their claim is basically they’ve dumped all this money [into the music industry] and if it’s not reaching the creator, then it is the labels’ fault,” says Graham Henderson, president of Music Can- ada, which represents the major music labels in Canada but is not privy to their contracts with You- Tube or other services. “The answer is, first of all, 99.9 per cent of the artists we’re talking about do not have record deals with major record compa- nies. Those that do have deals that are negotiated, transparent, and there are accounting statements. The suggestion is that somehow these evil record companies are hiding money somewhere on the ledger.” Henderson says that as an entertainment lawyer in the 1980s and ‘90s, he regularly audited the labels to find unpaid money for his CMRRA Pres. Caroline Rioux artist clients. He was also the 40 • C A N A D I A N M U S I C I A N subject of artists’ audits while working as senior VP of business affairs and e-commerce for Universal Music Canada in the ‘90s and early 2000s. He says that if a very success artist received a cheque for $1 million from the label and then au ѕ)ݽձՅɸѡȀȁ̸+qQ͔mɽ共tхѕ́ɔɔ)ɔɅɕЁɔt̰ͅ)ɔ-幍éq݅͠tqQ݅)́ѼٔѡЁЁ́ȁձ%ӊé٥ѥ)յȁӊéՑɽ͔́ѡ)ݕɔѡͅѥḿѡȁɕ)͕٥tЁݽձeЁȁЁݽձ)ȀѡЁѡݽձ)她Ё$ѕԁݔݽձ)ٕٔ䰁ٕ䁑ɕЁݽɱQݽձ)ɕѽɔѡݡɔѡɔ݅)՝䁥ѡ́)ȁ́ͼѡЁѡ䁍ձՅ)ٕЁѥ̻t)%Ё́ݥ䁉ٕѡЁeQՉ݅́Ո)ЁѼѡ́ͅ嵕Ёɵձ́)ѡȁɕ͕٥̃Lٕѡȁɕ͕ȴ)٥́Mѥé͕ѥȃLЁݽձͽٔ)Ёɽ́ȁɕѽ́ɥ)̸ɑѼѡ%A$ ذ)ѕՑɕɅѕԸ)ɕѼ٥ɕèܸ)ЁݥѠɅѥѡ̸͕)Qɔɔݼɕͽ́eQՉ́Ѽ)䁱ݕȁɅѕ́ȁͥĤeQՉé)ѥ͕ɵձ́ѡɕٕՔɅѕ)ɽ٥́́չɕͽ䁱ܰȤѡqͅ)ɉˊtɽ٥ͥ́չɥЁͱѥ)ٔɕѕչٕ她ѡЁɽѕ)eQՉ́ЁЁمхٕȁɥ)́ѥɕ͕٥̸)Iɑ́嵕Ёɵձչѡ)ɕ͕٥̀Ս́Mѥ)5ٕͥA5ͥeԴ)QՉ́Ё͔qtݡɕ䁥)́ѥѕɍхѽхɕٕՔѼ)ɥ̸́%Ёͼ́Ё䁄ȵɕ)Ʌєٕѡ՝ȵɕٕɅ́ɔ)ɕɕݡ͍ͥeQՉ)ɽ共ѥ̸]ЁЁ́́䁅ɑѼ٥ݕϊd)ٕѥ͕Ёѥ̸MЁ͔eQՉ)٥䁉ѥ镐ٕٔѥ͔)ЁхѼаЁ́Ёͅɥ䁝ȴ)єɕٕՔ٥ܸ+q%ӊéٕ䁥ѕɕѥѕ͕ѥ)啅ȰٕѥͥՑ̰յȁ٥̰)Ʌ́݅эѡ)٥ѡɅѥѡ٥ьt́ͅAɥ+qQͽݡ݅э́ѡ٥Յ䁡)Ѽəɴ٥ȸQЁ)٥ȁ́ѡ䁕ѡȁѼѡ)ȁѕЁȁѕɹѥٕ䰁ѡ䁹Ѽ݅э)Ѐ͕́ѡ٥ɍȁѡ)٥ɍ́́ѡ͕̰ѡ)Ѽ݅эѡѥɔɅѥ%ѡ䁑)ѡ͔ݼѡ̰ѡ٥́)䁵今tѥ䰁Ё٥)́ɔɕѕՅȁᅵ٥)ٕѥ͕ЁݥѠqͭtѽ́ݽѠ)ɔ݅эѡ٥ݥѠͭ)ѥ)Mѡɕѥ䰁ѥ镐٥ݥѠİ)٥́ձɸѡ)ͅȁɔ́)ѥ镐٥ݥѠ)٥́ѡ)Ёѕȁ)Ʌѥ)ѥ́ɽ٥ݕ(ɔ)ȁ٥ݕ)ѡ̤)%ѕɵ́ѡ)嵕ЁаeԴ)M= 8Y@1ͥ)ȁ ɽݸ)QՉ̀ԁ)ЁѡɕٕՔѡɕԁ)Ё́ЁЁɥ̸́eQՉe)ɍх͡ɔٕ́Ѽͥѱ)ɕѕȁѡѡɍхɕٕՔMѥ)́ɽ́ɕѥȰѡЀԁȁЁ)ЁЁ̸݅)Qɕѽȁѡ٥́͡ɔȁݸ)ѡ٥ѡ́͡ɔȁѡɥ)ѼѡɕɑѡͽɥѕȁՉ͡)Ё͡ɔȁѡɥ́Ѽѡͥѥ%ѡ)Չ͡ȁȁͽɥѕȁ͕́х)ѥ䀡Ցȁѡ 5IIѼѥ)͕́ѡȁͥѥЁɽ共ѥ̰)ѡѡЁ䁅ͼ́ɍхѡ)ɽ共ѥ́ѡ䁍ѕȁѡȁиMeQՉ)̀ԁȁЁѡمɥ́ɥ́)ЁЁЁȁݡЁ́и+q%eQՉݕɔѼɥٕ́́)ݡЁMѥ́ȁѡȁɕѥȰЁݽձ)ͥЁͥѥٔѕ݅ɐȁѡ)Ёչ䰁Ёѡ䁑eгt́ͅMՅ))ѽɕͥЁѡ %)5ͥͽѥ %5ݡɕɕ͕́)̰Չ̰͡ѡȁ̸͕ͥͥqM)ѡЁͥ́L$Ѽͅ䁥Ёٕ)ٕȁLЁمՕ́ͥ%Ё́չԴ)єͥՅѥt)Q她ѼɍeQՉѼѡЁͤ)ȁѡȁɕɕɽ共ѥ́܁ѡ)ݽɬ ͕ȁɔѽ䃊qMɕ5䁥́ݥ) Ё]ɔQtѡMѕȽ=ѽȀ؁Ք )5ͥȁЁ 5ͥɕ̸