youtube music
The dispute over the YouTube Music union, whose 43 members were abruptly laid off last week while one was testifying during an Austin City Council meeting, largely depends on the definition of “contractor.” Because they are not permanent, full-time employees, “their project on YouTube Music has ended,” according to a rep from their employer, information-technology subcontractor Cognizant, and “the contract expired at its natural end date.”
Independent contractors, according to Kate Bronfenbrenner, Cornell University’s director of labor education research, are “not under the regulatory state,” so they lack basic workplace protections. “Whether it’s labor law, health and safety or race discrimination, independent contractors have almost no rights in our economy,” she says. “So employers say, ‘We want to make as much money as possible — let’s make all our employees temporary employees.’”
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The 43 YouTube contractors, who work for Cognizant and Google to oversee content for the music-streaming service’s 80 million subscribers, voted unanimously almost a year ago to form a union under the auspices of Alphabet Workers Union-CWA. They’ve complained of hourly wages as low as $19 and a lack of sick pay and benefits. And they say Google has not been willing to bargain with them; in January, the National Labor Relations Board ruled that Google’s refusal to do so was illegal and must “bargain on request.” (An appeal is pending.)
In a statement, Google spokeswoman Courtenay Mencini repeated that Cognizant, not Google, is “responsible for these workers’ employment terms.” On Cognizant’s side, Jeff DeMarrais, chief communications officer, says “nobody was laid off” from YouTube Music and the contractors have seven weeks of paid time to “explore other roles within the organization.”
Sam Regan, a YouTube Music data analyst who is on the union’s organizing committee, responds that his team’s project was “never considered as temporary” and the Cognizant moves are, in fact, layoffs, as opposed to reassignments to different areas of the company. “Our team was fired and we had no notice, no warning, that we were going to get laid off,” he says. “It was cold, ruthless, dehumanizing, inhumane. The practice of tech companies laying off large swaths of people without notice is indicative of a pretty sick orientation towards workers in our culture.”
Regan and Katie-Marie Marschner, a subject matter expert on YouTube Music’s charts team until last week, accuse company managers of forcing them to leave their office without giving them a chance to remove their belongings. The office was a “total destruction zone,” Marschner says, alleging company employees and on-site security refused to let them remove certain personal items. “The experience was traumatic for a lot of us,” Regan adds.
Members of the YouTube Music team had been scheduled to testify before the Austin City Council on Feb. 29 to ask city officials to help convince Google to negotiate with their union. But as data analyst Jack Benedict was speaking, Marschner received a text saying her entire team was fired. Shaken, she interrupted the colleague’s speech — a moment captured in a video clip that went viral. Watching the clip afterwards, Marschner says, has been surreal and traumatic. “It’s such an insane experience opening my phone and that’s the first thing I see — myself talking, and not just talking, but the sound of my voice and the pain and shock,” she says.
Marschner accuses Cognizant and Google of “union-busting” and says the team members were “fired illegally.” And Cornell’s Bronfenbrenner is skeptical of Cognizant’s assertion that the temporary employees had a “natural end date” of Feb. 29. “There are a whole lot of questions about that,” she says. “From everything I’ve read, there wasn’t a certain date. And if there was an uncertain date, the employer can’t say their contract just ended and they can’t be laid off.”
Reached at home, Marschner says she plans to continue pursuing union recognition for her team: “We’re not done with this. We’re very much ready to keep the fight going.”
On Wednesday around midnight, a new song showed up on RapCaviar, Spotify‘s premier hip-hop playlist: “All Falls Down,” Kanye West’s second hit single ever, which came out almost 20 years ago. While RapCaviar is mostly focused on new releases, it does occasionally feature throwbacks. Still, the addition felt notable, because a new release from West and Ty Dolla $ign is expected to arrive at midnight tonight and executives around the music industry are curious how streaming service gatekeepers will respond.
Will they support the renowned artist who now goes by Ye, despite the fact that his repeated antisemitism and conservative trolling has caused a widespread backlash, leading most of his prominent business partners to sever ties since 2022? Or will they just ignore the new album all together?
“It’s going to be complicated,” says one former Spotify employee who spoke on the condition of anonymity. “There’s going to be a difference of opinion within those places on how to handle it. Some people in leadership positions will want to be harsh on Kanye for the nasty antisemitic things he has said. There will also be another side, the hip-hop teams, who will say, ‘No, it’s Kanye, people say crazy shit all the time, plus he apologized. We don’t care. We’re playlisting because it’s Kanye.’”
A digital marketer who helps artists with streaming strategy was more skeptical. “Streaming services didn’t support ‘Vultures’ [Ye’s previous song], so I would be very shocked” if they support the rest of the album, he says. “Even though Ye did his apology, it felt like that came and went so fast.”
Reps for Spotify, Apple Music and YouTube Music did not respond to a request for comment.
Streaming services mostly avoid trying to wade into moral debates about artists’ character. One exception came when Spotify announced a new policy in 2018, writing on its blog that “in some circumstances, when an artist or creator does something that is especially harmful or hateful (for example, violence against children and sexual violence), it may affect the ways we work with or support that artist or creator.”
The backlash against this announcement was swift. Anthony “Top Dawg” Tiffith, CEO of Top Dawg Entertainment, told Billboard, “I don’t think it’s right for artists to be censored.” Others felt similarly, and a few weeks later, Spotify said “we are moving away from implementing a policy around artist conduct.”
That said, two former employees say Spotify still occasionally flexes its muscles around playlisting. When Megan Thee Stallion was shot by Tory Lanez in 2020, “his songs weren’t getting in any playlists after that,” according to a former employee. (Lanez was found guilty in court in December 2022.)
But Ye is not on trial, and he also has more than 140 Hot 100 hits to date. Many of these are still in regular rotation: His catalog has earned more than 480 million on-demand streams already this year in the U.S., according to Luminate.
Even so, his newest song sank like a stone. When Ye and Ty Dolla $ign released “Vultures” in November, it failed to crack the Hot 100, and it has amassed only around 33 million Spotify streams, a flop by Ye’s high-flying standards. (He released a video for the track “Talking/Once Again” with Ty earlier this week, but it is not yet available on streaming services.)
Two sources familiar with Ye’s search for a distribution deal say several streaming services signaled to them that they were unlikely to support new music from the star due to widespread outrage over his antisemitic comments. “For an artist as big as Kanye to release a new track and receive no major editorial placements is quite an outlier,” notes Nicki Camberg, a data journalist at the company Chartmetric, which tracks data on playlisting, social media, and streaming for artists. (“Vultures” was released through Label Engine, a distribution company owned by Create Music Group, according to identification information in YouTube’s Content Management System.)
“Vultures” has fared slightly better on the airwaves than it has on streaming services. The song has received airplay from around 30 stations, according to Mediabase. Two stations in Ye’s hometown of Chicago played the song the day it came out, and they’ve played it far more than anyone else: 199 spins so far in 2024 from WGCI and 181 from WPWX. The station that played “Vultures” third most this year, KVEG in Las Vegas, has played it 50 times.
Aside from the iHeart-owned WGCI, it’s noticeable that the stations playing “Vultures” are mostly owned by smaller radio companies, not the behemoths like iHeart, Audacy and Sirius. The track has received 2,144 spins overall, with 6.187 million audience impressions.
In the mid-2010s, radio was eclipsed by streaming services as the most important driver of listening behavior. Now a similar thing has happened to streaming services: Young fans are increasingly likely to discover music on short-form video platforms like TikTok. (Though they can’t find Universal Music Group songs there at the moment.) As a result, executives told Billboard in 2022 that “Spotify and Apple editorial playlists don’t have as much punch” as they used to.
Even on an earnings call on Thursday (Feb. 8), Warner Music Group CEO Robert Kyncl noted that “the data discovery and consumption trends” in music “are driven by the algorithms of the larger platforms and users sharing playlists with each other” — not playlists controlled by the various platforms. “The guys who do playlists had a lot of power four or five years ago,” says one longtime A&R. “Now their power is dwindling, because it doesn’t matter what they say. The kids choose at the end of the day.”
This could work to Ye’s advantage. If he’s able to luck into a viral moment, it won’t matter much whether he’s put on editorial playlists initially; listeners will find the music and play it, and the audience response will impact streaming services.
So far, “Vultures” hasn’t generated this kind of enthusiasm. “From a fan perspective, if it was going crazy and everyone was talking about it, that would push it,” the digital marketer says. “But I haven’t seen that anywhere.”
YouTube raised prices on the individual plans for both YouTube Premium and YouTube Music for new and current U.S.-based subscribers on Thursday (July 20), marking the first time YouTube Premium has increased prices for individual plans in the United States since launching in 2018. Subscribers to YouTube Premium will pay $13.99 per month, up from […]
To afford living in Austin, Katie-Marie Marschner works two jobs in the music business: In addition to her gig as a tour manager, she earns $19 an hour working remotely 40 hours a week as a YouTube Music subject matter expert — poring over spreadsheets for errors in the company’s charts algorithm. To manage it all, she alternates between her YouTube Music “office computer” and her “fun computer.”
Marschner’s employment for YouTube Music is through Cognizant, an IT company that contracts with the Google-owned music streamer to supply staff. But after she and her coworkers petitioned the National Labor Relations Board (NLRB) to hold a union election that would effectively unionize them, Cognizant is now mandating that all 58 employees report to work in Austin — even though Marschner and her colleagues say the company hired them with the understanding they’d work remotely, often outside the city. This kind of flexibility has allowed Marschner to travel on off-days as a tour manager and book hotels during her lunch breaks, and she says, “Returning to the office is completely unfeasible.”
Marschner and her colleagues see the new in-office mandate as a union-busting move: Rather than allow the workers to unionize, Cognizant is demanding they return to the office, and, presumably, will fire the workers who can’t. The remote employees – some of whom work far from Austin and even Texas – say they accepted their jobs years ago with the understanding they’d be able to work from home and accuse Cognizant of changing the terms after their union activity. In response, on Jan. 23, the workers filed an Unfair Labor Practice complaint with the NLRB. Three weeks ago, the workers went on strike, marching last Tuesday to Google’s downtown Austin headquarters for a rally.
The division’s union movement caught the attention of Sen. Bernie Sanders (D-Vt.) and Rep. Greg Casar (D-Texas). They wrote a Feb. 21 joint letter to the CEO of YouTube’s parent companies, Google and Alphabet, complaining the return-to-work announcement was an “anti-union posture” and requested the workers be “able to freely exercise their right to join a union as guaranteed by federal law.”
“These workers are inspiring people across the country,” Casar tells Billboard. “When the United Auto Workers started organizing at General Motors, their first strike was 50 workers. Soon enough, hundreds of thousands of autoworkers decided to join. That helped make auto-worker jobs stop being poverty-wage, dangerous jobs and made them into middle-class-family-sustaining jobs.”
A Google rep did not respond to inquiries, but a spokesperson has told reporters the striking workers are employees of Cognizant, not Google. Jeff Demarrais, a Cognizant spokesperson, sent a statement saying the company “respects the right of our associates to disagree with our policies, and to protest them lawfully,” adding that it is “disappointing” the workers decided to strike over a return-to-office policy the company has “communicated to them repeatedly” since December 2021. In an email, Demarrais accused the protesters of issuing “death threats” against other Cognizant employees and “blocked the office driveways with downed trees.”
Neil Gossell, who works for the striking YouTube Music division, calls the downed-tree claim a “flat-out lie,” saying a recent Austin ice storm was responsible for the blocked walkways. “I don’t know of any threats we made to anybody who chose to return to work,” says Gossell, a music generalist with YouTube Music who oversees “missing content” taken down due to copyright issues or missing artist names. “Sure, we’re frustrated with them, but we hope we can convince them into joining and help themselves have a better and fairer workplace.”
Gossell and Marschner are upset that Google, whom they see as their employer, has deferred to Cognizant. “I’ve gone through Google training. I go through their security training. I go through their ethics training…. [But] if we want to negotiate over pay, they say, ‘Pay is based on the contract we have with Google, so we can’t bargain over that.’” Marschner says.
The employees, affiliated with the Alphabet Workers Union, which has never held a strike, are awaiting National Labor Relations Board decisions on their election petition and the two Unfair Labor Practice complaints.
“It’s going to be a long labor movement, because we’re not stopping until we have a union,” Gossell says. Referring to recent union activity at Amazon, Disney and Tesla, he adds: “I’m not saying we’re the tip of the spear, but we’re part of something bigger that’s going on in America. All you have to do is pick up a history book to see how this ends.”
YouTube announced that it now has more than 80 million Music and Premium subscribers around the world (counting users in trials). That represents a jump of 30 million users from 2021.
In a blog post, Global Head of Music Lyor Cohen called passing the 80-million threshold “a monumental moment for music on YouTube.” He added, “Hopefully, these milestones demonstrate our commitment to becoming the #1 contributor of revenue to the music industry.”
In a statement, Lucian Grainge, chairman and CEO of Universal Music Group, praised YouTube for “creating a compelling and unique music service that is rapidly growing its base of subscribers and contributing significantly to the vibrancy of the music ecosystem.”
“YouTube has demonstrated their commitment to partnership with the music industry and growing revenue for all artists and rightsholders alike,” added Jeremy Sirota, CEO of Merlin.
YouTube’s latest level-up follows the company’s September announcement that it had paid out $6 billion to the music industry in the 12 months between June 2021 and June 2022. That amount represented a hefty 50% increase relative to the previous sum YouTube reported in June 2020: $4 billion over a 12-month period. (In 2020, the company reported that it had 30 million subscribers.)
Cohen has set lofty goals for YouTube: “We want our twin engine of ads and subscriptions to be the #1 contributor of revenue to the industry by 2025,” he declared in September. That won’t be easy; Spotify’s Loud & Clear report said the company paid $7 billion in royalties to the music industry in 2021. That was a 40% jump from the $5 billion the service said it paid out in 2020.
Among other major streaming services, Apple Music reported 60 million global subscribers back in 2019, while Amazon Music reported 55 million subscribers worldwide in 2020 (neither company has updated those numbers since). Elsewhere, the much-smaller Deezer boasts 9.4 million global subscribers as of its Q3 2022 earnings report, while paid subscribers to the diminishing Pandora service were 6.3 million, according to parent company SiriusXM’s Q3 earnings report released Nov. 1.
In his blog post, Cohen seemed cheerful about his company’s ability to leapfrog its competitors, ending the short note with McFadden & Whitehead‘s ode to persistence, “Ain’t No Stoppin’ Us Now.”
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