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Dj Frosty 2025-02-10 MIX 1

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For all the talk about TikTok and its impact on the music business, much less has been said about YouTube in the last few years. George Karalexis and Donna Budica, the co-founders and CEO and COO, respectively, of YouTube strategy company Ten2 Media, want to change that. “YouTube is so underserviced by the music industry. Traditionally, it’s just been a place to put up your music video,” Karalexis says of the platform where Justin Bieber, Troye Sivan and Maggie Rogers were discovered.
“It has evolved so much now,” Budica adds.

Trending on Billboard

With the 2021 introduction of Shorts, YouTube’s video equivalent of Instagram Reels and TikTok, the duo saw an opportunity to start a firm that hyperspecialized in YouTube. “YouTube is unlike anything else. It is an ecosystem,” Budica says. “Shorts, livestreams, longer videos, music videos, YouTube Music.”

Unlike the plethora of YouTube distributors and rights management firms that simply collect money from the platform and send artists and labels a check for what they’ve found, Ten2 sees itself as a high-touch service, handling YouTube royalty collection but also helping clients strategize content creation specifically for the platform. Those services include helping artists and labels create lucrative livestream loops of their videos, building out playlists of their songs, capturing publishing dollars from user-generated covers and developing strategies to attract new audiences with their Shorts. While Billboard has reported several stories about rights managers employing fraudulent schemes to siphon royalties from YouTube — often from unsuspecting independent artists who don’t have access to the streaming service’s content management system (CMS) — Ten2 offers clients a “completely transparent” dashboard, Karalexis says, that provides “educational tools, greater understanding about analytics — like what’s working, what’s not working — why and how to expedite growth,” Budica says, finishing his thought.

Karalexis and Budica’s clients include Warner Records, Rhino Records and a number of distributors that wish to remain anonymous, and they say they have had major success with such mainstream clients as Brent Faiyaz, Benson Boone, blink-182’s Travis Barker and NLE Choppa, to name a few, and have helped Christian artists Maverick City Music and Don Moen earn six-figure incomes on YouTube alone through savvy strategizing.

With data analytics firm Kantar reporting that YouTube Music was the “most adopted music streaming service” for the second quarter of 2024, and Luminate’s findings that YouTube Shorts are nearly at parity with TikTok when it comes to U.S. music listeners using the platform — more than 30% — Karalexis and Budica contend YouTube has a strong future. “We saw the writing on the wall,” Karalexis says.

Karalexis says he was given this guitar pick after seeing his first concert, Eric Clapton, in 1992. “That experience changed my life and made me want to pursue music.”

Yasara Gunawardena

Should all artists use a service like Ten2, or are there artists who fare better on YouTube with your guidance?

GEORGE KARALEXIS: If you don’t have a partner that understands YouTube [and has access to its CMS], then you’re blind on the platform. It’s not like Spotify and Apple, which have this very [similar] systematic approach where the song just kind of sits there. YouTube is part social network, part streaming service. So if you’re actively creating content on it, you’ll see a lot of upward growth of your own making. Also, Spotify and Apple don’t share how often listeners skip a song or how long people listen to your songs. If you get a partner with access to YouTube’s CMS, you can really get an understanding of who your audience is and who your potential audience is.

You’ve had success working with Christian artists. What makes this genre distinct from others?

KARALEXIS: We’ve found that Christian is song-based rather than artist-based. House bands at churches play lots of covers of popular Christian songs. Don Moen has written huge songs that get covered over and over, and the covers are even bigger than his original. Through that process, we realized there were a lot of royalties to claim. We also found success using keywords that Christians are searching for, like “Sunday prayer,” “worship,” stuff like that. YouTube is the second-largest search engine for folks behind Google, so these keywords really work to drive traffic. Also, it’s very driven by lyrics and long-form consumption. We’ve started a 24/7 livestream, like the Lofi Girl study beats videos, and it’s been huge. We’ve found that people watch these streams for an average of an hour and 50 minutes. Another example: We work with a few superchurch pastors, too. They have such a hardcore following that tunes in. They might draw 1,000 people in person, but on YouTube they’ll have 15,000 to 20,000.

DONNA BUDICA: But all these approaches are genre-agnostic. It doesn’t matter if it’s hip-hop or Christian or whatever. Everyone can benefit from a livestream or a lyric video or keywords.

What makes Shorts distinct in the short-form video space?

KARALEXIS: When someone opens the YouTube app on their phone, their mentality is very different than if they just choose to click on TikTok or Instagram. They are [typically] someone who watches long-form, someone who wants to get frequent updates from a person they subscribe to, whereas TikTok is quick virality-driven. We look at Shorts as a brand-builder — onboarding fans versus driving audio consumption.

“Disraeli Gears by Cream is my earliest memory of music,” Karalexis says. “I remember flipping through my dad’s vinyl collection and always asking for this one to be played.”

Yasara Gunawardena

Recently, a lot of labels have turned away from making high-quality music videos for singles. Why do you think that is?

BUDICA: YouTube is no longer a place where an artist should put out one really expensive music video every era and go away. Consistency is key, and the YouTube algorithm rewards that. If you’re constantly putting out one long-form video [shot on an iPhone] every week or every month, it’s better.

KARALEXIS: Hip-hop got it right first. They would do these lifestyle videos, where it’s them with cars, their friends. They’re showcasing the life that their lyrics are selling.

Warner Music Group CEO Robert Kyncl joined the company from YouTube. Is this leadership one of the reasons WMG hired Ten2?

KARALEXIS: Our relationship actually predated Robert. We started working with Warner in late 2021, early 2022. I think [Warner Records co-chairman/COO] Tom Corson is a really smart guy, and he’s always trying to find a competitive edge and find ways to service artists differently.

Does the restructuring at Atlantic Music Group affect you and your artist clients?

KARALEXIS: No, we mostly work with Warner Records. We also service a number of indie labels and artists that are not public.

YouTube is trying to launch a TV equivalent to rival Netflix and other streaming platforms. How will this affect your artists?

KARALEXIS: We’re seeing huge spikes in TV consumption already. It’s the next frontier. It’s so hard to break an artist on a phone because of the barrage of notifications you’re getting on there. Sometimes I don’t even remember what content I’ve seen because I was so distracted. On TV you’re not [barraged], so it has a lot of potential.

Budica says her diploma reminds her to “maintain a beginner’s mind while continuing to build upon the tools, fundamentals and passion for business that Wharton gave me during my formative years.”

Yasara Gunawardena

Artificial intelligence-generated or -assisted videos are starting to appear on social media. Will the rise of AI content hurt your clients’ chances of breaking through the noise?

BUDICA: Any kind of milestone in technological advancements could be malicious. But the reality is it’s here and it can expedite content creation. That’s how we choose to approach it.

KARALEXIS: Yeah, what can you do? Throw up your hands? Then you’ll get left behind. We have to embrace it. We’ve seen it help with Don Moen’s content creation. AI has helped him tremendously to create quick lyric videos and increase their output. We have a lyric-video generator and it can make, like, 50 versions a day.

Is that the future of shortform video platforms — generating a million versions of the same thing?

BUDICA: I’m going to say a soft no. It’s not about blindly putting out volume. It is good to experiment, but it’s about putting out things that resonate with your audience and using analytics to figure out what’s working.

The last year has had an influx in catalog sales and viral bumps for songs that are decades old. What are the opportunities on YouTube for catalog marketing?

KARALEXIS: Massive. Repurposing is important here. Donna came up with this idea of “surface area.” For someone who is deceased or no longer able to produce new material in a traditional way, the method has always been the same: a remaster, a reissue, but there’s a lot more we can do now. You can reintroduce the artist in a number of ways. For example, with The Beatles on YouTube, you could create a ton of playlists [videos that play in a particular order] that are based on keywords and themes, like “Beatles acoustic songs,” “Beatles love songs.” Sometimes it is as simple as reworking their old videos into 4K and uploading them with higher quality. We are very bullish on catalog and in deep discussions with some estates.

You’ve been working with major labels, including WMG, but do you think there is any danger in the majors ever trying to replicate your process in-house?

KARALEXIS The majors could do it [in-house], but they are downsizing and consolidating. For them to build what we’ve done from scratch in-house would be hard, and surprising.

“Much of the artwork in my office, including this one, was drawn by my dad, who came here on a boat from Italy [and] is an aerospace engineer,” Budica says. “His name is on the moon, but he also designed album cover art in the ’60s.”

Yasara Gunawardena

Yng Lvcas and Peso Pluma have a billion reasons to celebrate this week. The Mexican singer/rappers both scored their first ever ticket into the YouTube Billion Views Club this week when the clip for the remix of their smash 2023 collaboration, “La Bebe,” crossed the 10-digit line. Explore See latest videos, charts and news See […]

Spotify subscribers in 97 countries will no longer have to leave the app to watch their favorite artists’ music videos, the company announced on Tuesday (Oct. 15). The beta test, which started earlier this year in around a dozen countries — including the U.K., Germany, Brazil and Colombia — will also expand to South Korea […]

YouTube and SESAC have settled their rate dispute, meaning the performance rights organization’s catalog will soon be back up on the YouTube platform, according to representatives from both sides.
“We are pleased that SESAC reconsidered our offer,” a YouTube representative said in a statement. “We’ve reached a deal and content will come back shortly. We appreciate everyone’s patience during this time.”

SESAC executives also say they are pleased with the deal. “We have reached an agreement with YouTube to equitably compensate SESAC’s songwriters and publishers for the use of their music,” SESAC Performing Rights president/COO Scott Jungmichel said in a statement. “We appreciate the support and patience of our affiliates, as well as the artists who perform those songs. During our negotiations with YouTube, our affiliates’ works were unilaterally removed by YouTube ahead of the contract end date of October 1, 2024. YouTube has begun the process of reinstating videos featuring these songs.” 

The deal was struck after YouTube pulled down a portion of SESAC’s repertoire, including songs from the likes of Bob Dylan, Adele, R.E.M., Green Day and Zac Brown, among others. When YouTube users wanted to play a video containing music from artists signed to SESAC, they were greeted with a message stating, “This video contains content from SESAC. It is not available in your country.”

Trending on Billboard

Artists and songwriters including J Cole, Sam Smith and Kanye West who are not signed to SESAC also had songs taken down due to having credited co-writers who were signed with the PRO. In addition, sources say, even some SESAC songwriters whose publishers have direct deals with YouTube had their songs taken down.

The YouTube representative indicates it will take a day or two for everything to go back up online. As it is, some videos still have the “is not available in your country” notice, while other songs by songwriters signed to SESAC are once again available on the service. Apparently, YouTube was still in the process of removing videos when the deal was struck, so while some notable SESAC songs were taken down over the weekend, other songs by the same artists, and even songs on the same album, were still available.

According to sources, YouTube global head of music Lyor Cohen was making phone calls at the end of last week to managers, labels and publishers, warning them that the takedown was coming. When executives who received the calls asked why the music was taken down, Cohen apparently answered that YouTube and SESAC were too far apart in negotiating the rate.

Meanwhile, other industry sources say they heard that an agreement was reached in principle on Saturday morning (Sept. 28), before YouTube started heavily pulling down SESAC songs. 

Until YouTube and performing rights organization SESAC reach an agreement on renewal terms of their expiring contract, consumers might find many of their favorite songs unplayable on the video streaming service.
Some (but not all) songs by artists including Adele, Mariah Carey, Bob Dylan, Green Day, Kendrick Lamar, Nirvana and R.E.M. were among those unavailable on YouTube over the weekend, according to The Hollywood Reporter.

At press time Sunday night (Sept. 29), Billboard can confirm hits like Adele’s “Hello” and “Someone Like You,” and R.E.M.’s “Losing My Religion,” as just a few examples of music videos that remain unplayable on YouTube while its licensing deal with SESAC remains unsettled. When the page loads, an error message appears in place of a music video preview. The message reads, “Video unavailable. This video contains content from SESAC. It is not available in your country.”

In a statement sent to Billboard, a YouTube spokesperson wrote, “We have held good faith negotiations with SESAC to renew our existing deal. Unfortunately, despite our best efforts, we were unable to reach an equitable agreement before its expiration. We take copyright very seriously and as a result, content represented by SESAC is no longer available on YouTube in the US. We are in active conversations with SESAC and are hoping to reach a new deal as soon as possible.”

Trending on Billboard

Billboard reached out to SESAC but did not receive a response on Sunday.

SESAC, which licenses the public performance of more than 1.5 million songs, collects royalties and helps protect copyrights on behalf of thousands of songwriters and publishers in the U.S.

As THR points out, YouTube customer service has been addressing users’ frustrations in responses on X (formerly Twitter). On the TeamYouTube account, replies to complaints have read, “Our music license agreement with SESAC has expired without an agreement on renewal conditions despite our best efforts. For this reason, we have blocked content on YouTube in the US known to be associated with SESAC – as in line with copyright law … We understand this is a difficult situation and our teams continue to work on reaching a renewal agreement.”

A-ha’s chart-topping hit, “Take on Me” reached two billion YouTube views this week, marking the first song released in that decade to achieve this milestone. The Norwegian trio — Magne Furuholmen, Morten Harket and Paul Waaktaar-Savoy, who were 22, 26 and 24, respectively at the time — released their debut album, Hunting High and Low, in […]

HipHopWired Featured Video

Source: Jason Davis / Getty
Candace Owens shared that her YouTube channel has been suspended due to antisemitic comments made by Ye aka Kanye West last month.
On Monday (September 9), conservative media personality Candace Owens shared that YouTube shut down her channel for seven days. She stated that an appearance by Ye aka Kanye West on her show in August was the reason for it. “There will be no show today, or at all this week. That’s because @YouTube has issued me a strike and a one-week suspension for my sit-down with Kanye. They also removed the interview as “hate speech”, as it was mass reported by Zionists. Their tactics never change,” she wrote in a post on X, formerly Twitter. She also shared screenshots of the messages she received from YouTube.

https://twitter.com/RealCandaceO/status/1833550415171932214

The comment in question was Ye claiming that Jewish people control the media.” Owens felt that a recent discussion that she had with Rabbi Shmuley Boteach on Piers Morgan’s show led to the suspension and demonetization of her channel. The channel currently has 2.4 million followers. “The world knows why I am being targeted and frankly, I have never felt more confident that I am the right person for this to happen,” she added in another post on X. 
“Thus far, I have had zero strikes on my @YouTubeCreators account,” she said, continuing: “I have now been inundated with 3 back-to-back content hits within minutes, plus an email that I am now fully demonetized. We all know exactly who is behind this and why.” The suspension is a blow to Owens, who was fired by The Daily Wire after a public feud with co-founder Ben Shapiro over Israel and antisemitism.
A spokesperson for YouTube confirmed the suspension to the New York Post. “We’ve suspended channels associated with Candace Owens from the YouTube Partner Program following repeated violations of our policies, including our Advertiser-Friendly Guidelines and Community Guidelines,” Jack Malon said in a statement. The statement went on to say that she would no longer be able to make money from the platform, but creators would be able to reapply in 90 days.

Maroon 5 and Cardi B‘s cameo-stuffed 2018 video for “Girls Like You (Volume 2)” has reached the billion views mark on YouTube. The female empowerment anthem and fifth single from the band’s fifth album, 2017’s Red Pill Blues, got a bonus-edition visual in May 2018 with Cardi slotted-in midway through for a verse about her her come up from stripper to world-beating rap superstar.

Explore

See latest videos, charts and news

See latest videos, charts and news

The ascension to the billie club for the Vol. 2 version of the tune marks the fifth time both M5 and Cardi have landed billion view music videos on YouTube.

The original video for Billboard Music Award-winning song — which spent seven weeks at No. 1 on the Billboard Hot 100 chart and 33 weeks in the top 10 — has racked up more than 3.6 billion views to date. That David Dobkin-directed clip found the camera swinging in a circle around M5 singer Adam Levine as a series of famous female singers, comedians, athletes, activists, politicians, actresses and models materialized behind the vocalist and danced along to the bouncy pop tune.

Trending on Billboard

Among the stars popping in were: Camilla Cabello, Phoebe Robinson, Aly Raisman, SarahSilverman, Gal Gadot, Lilly Singh, Amani al-Khatahtbeh, Trace Lysette, Tiffany Haddish, Angy Rivera, Franchesca Ramsey, Millie Bobby Brown, Ellen DeGeneres, Jennifer Lopez, Chloe Kim, Alex Morgan, Mary J. Blige, Beanie Feldstein, Jackie Fielder, Danica Patrick, Ilhan Omar, Elizabeth Banks, Ashley Graham and Rita Ora, as well as Levine’s wife, model Behati Prinsloo and their daughter, Dusty Rose.

In addition to dancing and lip synching along to the tune, a number of the women in the clip rock message T-shirts with pointed social messages, including immigration activist Rivera’s “Undocumented Unafraid Unapologetic” one, as well as U.S. gymnast Raisman’s “Always Speak You Truth” shirt and activist Fielder’s “Divest, Water Is Life” top.

Watch the “Girls Like You (Volume 2)” video below.

[embedded content]

BLACKPINK have two billion reasons to celebrate this week after the video for their 2019 No. 41 Billboard Hot 100 hit “Kill This Love” became the K-pop girl group’s second visual to cross the double billion mark. Explore Explore See latest videos, charts and news See latest videos, charts and news “Kill This Love” now […]

Kesha fans were sent for a loop on Sunday (Aug. 18) after claims that the “Eat the Acid” singer’s name was removed from the video credits of Pitbull‘s 2013 hit “Timber.” According to screenshots posted on Reddit of what appeared to be the altered credentials for the visual for the single from Mr. Worldwide’s Meltdown […]


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