Rick Beato Confronts Music Managers Over King Crimson YouTube Block

Rick Beato

While content creators accept demonetization so legacy artists receive ad revenue, outright copyright blocking suppresses music education and isolates classic bands from younger audiences.

AI-assisted summary of I Confronted the People That BLOCKED My Video (Rant) — original source. Check the original for full context.

Source published: 2020-07-17

Key ideas

Rick Beato's 'Top 20 Greatest Debut Records' video was manually blocked worldwide by Aviator Management over a nine-second excerpt of King Crimson's 1969 track '21st Century Schizoid Man.' (0:00)
Universal Music Group employs a dedicated team of 60 people working five to six days a week solely to submit 200 to 500 weekly copyright claims and takedown notices for Don Henley and the Eagles. (5:00)
Across Beato's 732-video catalog, 253 videos have been demonetized, 465 have faced copyright claims, and 43 have been blocked outright, wiping roughly 38 completed episodes off the internet. (17:42)
Beato drew a sharp distinction between demonetization and blocking, noting he accepts rights holders taking 100% of ad revenue for master recordings, but vehemently opposes outright takedowns that suppress music education. (17:42)

Detailed notes

## Background Published on YouTube on July 17, 2020, by music producer and educator Rick Beato, this livestream addresses the sudden copyright takedown of his recent countdown video. According to the video description, Beato shares what unfolded when he directly confronted the management team responsible for issuing the worldwide block.

## TL;DR After a nine-second snippet of King Crimson's '21st Century Schizoid Man' triggered a global takedown of his 'Top 20 Greatest Debut Records' video, Rick Beato details his direct phone call to Aviator Management in Germany, who refused to comment. Tying the incident to his upcoming appearance before a U.S. Senate subcommittee on fair use, Beato critiques Don Henley's recent congressional testimony, which painted independent creators as threats to legacy musicians. Beato shares his own channel data—revealing 253 demonetized uploads and 43 blocked videos—and draws a strict line between forfeiting ad revenue to artists and having educational commentary wiped off the platform entirely. He ultimately argues that overzealous management companies and automated copyright systems hurt both creators and the legacy bands whose music is isolated from younger generations.

## Atmosphere & style The broadcast delivers the spontaneous, charged energy of an authentic creator rant, opening with off-the-cuff studio troubleshooting before channeling genuine indignation at corporate copyright enforcement. Beato blends personal exasperation with methodical catalog data, venting palpable frustration at out-of-touch industry executives without ever losing his foundational love for the music itself. The mood shifts fluidly between righteous grievance, transparent industry critique, and warm humor, giving viewers an intimate, unvarnished look at a veteran musician standing up for online music education.

## Bulletin - [00:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=0s) Rick Beato's 'Top 20 Greatest Debut Records' video was manually blocked worldwide by Aviator Management over a nine-second excerpt of King Crimson's 1969 track '21st Century Schizoid Man.' - [05:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=300s) Universal Music Group employs a dedicated team of 60 people working five to six days a week solely to submit 200 to 500 weekly copyright claims and takedown notices for Don Henley and the Eagles. - [17:42](https://www.youtube.com/watch?v=RqvuEal2P2E&t=1062s) Across Beato's 732-video catalog, 253 videos have been demonetized, 465 have faced copyright claims, and 43 have been blocked outright, wiping roughly 38 completed episodes off the internet. - [17:42](https://www.youtube.com/watch?v=RqvuEal2P2E&t=1062s) Beato drew a sharp distinction between demonetization and blocking, noting he accepts rights holders taking 100% of ad revenue for master recordings, but vehemently opposes outright takedowns that suppress music education.

## Key takeaways - [00:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=0s) Beato's countdown video was manually blocked worldwide at 4:35 a.m. following a copyright claim on nine seconds of King Crimson's '21st Century Schizoid Man.' - [00:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=0s) Upon calling Aviator Management in Germany directly to inquire about the manual takedown, Beato was told by representatives that they had no comment. - [00:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=0s) Beato defended YouTube as an essential platform for creator discovery, attributing overreaching takedowns entirely to legacy artists, publishers, and management firms. - [05:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=300s) Ahead of his scheduled testimony on fair use before a U.S. Senate subcommittee, Beato shared channel metrics showing over one-third of his catalog generates zero ad revenue due to copyright enforcement. - [05:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=300s) Don Henley's Senate testimony detailed a 60-person Universal Music Group unit dedicated to manually combing YouTube and Facebook to issue hundreds of takedowns every week. - [10:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=600s) With YouTube ad revenue averaging around $1,250 per million views, Beato questioned legacy rock stars targeting independent creators who spend 12 to 15 hours producing free educational tributes. - [10:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=600s) Re-uploading videos after editing out flagged clips severely damages distribution because YouTube's algorithm throttles recommendations on flagged content. - [15:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=900s) Due to strict copyright enforcement, Beato deliberately avoids analyzing major bands like Black Sabbath, refusing to spend 15 hours of unpaid production time only to be blocked. - [15:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=900s) Modern progressive artists like Tosin Abasi and Plini embrace online platforms for organic discovery, contrasting sharply with legacy acts who retreat behind restrictive copyright enforcement. - [17:42](https://www.youtube.com/watch?v=RqvuEal2P2E&t=1062s) Beato accepts demonetization when using isolated studio stems on 'What Makes This Song Great,' conceding that artists deserve the ad revenue, but opposes outright video blocking. - [20:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=1200s) Despite low expectations that congressional testimony will alter DMCA statutes or rein in major label power, Beato affirmed his intent to testify and voice the creator perspective on the official record. - [20:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=1200s) Beato cautioned his viewers against harassing King Crimson's management, concluding that the biggest victims of aggressive copyright enforcement are the legacy bands whose work remains hidden from new generations.

## Detailed walkthrough ### [00:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=0s) A Blocked Video and a Phone Call to Management

Rick Beato opens the livestream troubleshooting technical audio issues with his assistant, Billy, resolving an echo before getting into the day's primary frustration. The previous day, Beato uploaded a video ranking the "Top 20 greatest debut records of all time." When he woke up that morning, he checked his Creator Studio app and discovered that the video had been blocked worldwide at 4:35 a.m. The takedown cited copyrighted content from the track "21st Century Schizoid Man" by King Crimson, noting that it had been manually reviewed on behalf of the copyright owner by Aviator Management in Germany.

Beato reveals that the block was triggered by just nine seconds of audio he used while highlighting an album that was released 52 years ago. He clarifies that YouTube itself is not to blame, explaining that the platform’s algorithm helps music enthusiasts discover his work. Instead, it is the artists, publishers, and management teams who dictate strict zero-tolerance policies. Determined to challenge the decision directly, Beato located a German phone number for Aviator Management and dialed it.

When an employee answered, Beato explained that he was a creator with over 1.5 million subscribers preparing a video about the takedown and asked if they had any comment. The woman transferred him to a male representative, who reiterated that they had no statement to offer. Beato made sure to confirm for the record that they had no comment before hanging up. Expressing his bewilderment, Beato notes that he saw King Crimson in concert the previous year, found them phenomenal, and had previously worked with their bassist Tony Levin, whom he describes as an exceptionally kind person. He laments that legacy management companies simply fail to understand how modern digital platforms operate.

```mermaid flowchart TD accTitle: King Crimson Copyright Takedown Flow accDescr: Sequence showing how a nine-second King Crimson clip led to a manual takedown and an unanswered confrontation.

subgraph Upload["Content Upload"] A["Rick Beato posts 'Top 20 Debut Albums' video"] B["Includes 9-second clip of '21st Century Schizoid Man'"] A --> B end

subgraph Action["Enforcement Action"] C["Manual review by Aviator Management (Germany)"] D["Video blocked worldwide at 4:35 AM"] B --> C C --> D end

subgraph Response["Creator Confrontation"] E["Rick calls management office in Germany"] F["Management declines to comment on the record"] D --> E E --> F end ```

- Rick’s "Top 20 Greatest Debut Records of All Time" video was blocked globally at 4:35 a.m. - The claim cited nine seconds of "21st Century Schizoid Man" by King Crimson from their 1969 debut album. - The takedown notice designated a manual review handled by Aviator Management based in Germany. - Beato directly defended the YouTube platform: “The reason that you guys can see my videos is because I'm on YouTube.”

---

[05:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=300s) Senate Testimony and Don Henley's Copyright Gripes

Beato transitions to an upcoming appearance before a United States Senate subcommittee on July 28 to testify on fair use issues. After verifying with organizers that the committee was strictly nonpartisan, he accepted the invitation. Shortly thereafter, his sister sent him footage of Eagles frontman Don Henley delivering testimony before the exact same Senate committee a few weeks earlier. Beato remarks that Henley spent his time complaining about how modern streaming platforms infringe on copyrights and prevent legacy artists from earning money.

Beato shares the stark copyright enforcement statistics from his own YouTube catalog. Out of 732 free videos published on his channel, 253 have been entirely demonetized, meaning that roughly one-third of his catalog—including almost all of his highest-performing videos—generates zero direct ad revenue. He has faced 465 total copyright claims and 43 full takedown blocks.

Playing the clip of Henley’s Senate testimony directly from his phone, Beato highlights Henley’s claims regarding the scale of copyright enforcement. Henley argued before senators that YouTube hosts roughly six billion posts, four billion of which are unclaimed, with an estimated 84% containing music. Henley insisted that manually processing claims at two minutes per violation would require 200 million hours and cost two billion dollars at minimum wage. Henley explained that Universal Music Group administers publishing for him and the Eagles, employing a dedicated team of 60 people who sit in a room five to six days a week doing nothing but scouring YouTube and Facebook to issue between 200 and 500 copyright claims and takedown notices weekly.

- Beato was invited to testify on fair use before a U.S. Senate subcommittee on July 28. - Channel catalog metrics: 732 free videos published, 253 demonetized (over 34%), 465 copyright claims, and 43 total blocked uploads. - Don Henley testified that YouTube has approximately six billion uploads, claiming 84% contain musical content. - Universal Music Group utilizes a team of 60 full-time staff members working five to six days a week solely to monitor and issue copyright claims for the Eagles and Henley. - Beato remarked on the upcoming hearing: “I don’t care if they don’t want me to testify... I’d rather be on here talking about it because way more people will see this.”

---

[10:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=600s) The Plight of Independent Creators vs. Legacy Artists

Beato responds with intense frustration to Henley’s testimony, criticizing the irony of an ultra-wealthy rock icon claiming to defend "smaller artists" while aggressively policing content creators. Beato points out that a creator earns a modest $1,250 for a million views on YouTube, yet Henley behaves as if content creators are robbing legacy acts. Beato contrasts this corporate litigation machine with his own experience as an educator and music producer who routinely spends 12 hours producing a single episode of his *What Makes This Song Great* series completely for free, without ad revenue, solely to celebrate classic music.

Addressing the broader copyright environment, Beato argues that his direct YouTube broadcast will accomplish far more than speaking before senators on C-SPAN, predicting that politicians will inevitably side with either big tech conglomerates or major record labels. He explains that music creators survive not through platform ad revenue, but through the voluntary backing of their audience—such as purchasing his 670-page *Beato Book* bundle or ear training programs.

Beato recounts how he dealt with the King Crimson block: he edited the nine-second audio snippet out of the video and re-uploaded it, successfully restoring the video after a few hours. However, he emphasizes the lingering algorithmic penalty: once an upload is flagged and blocked, the platform throttles its visibility and limits its recommendations, permanently damaging the video's reach. He concludes that manual claims and algorithmic penalties suppress legitimate educational commentary and harm both creators and musical legacies.

- YouTube ad payouts cited: approximately $1,250 per one million video views. - Production investment: Beato frequently spends 12 hours creating a single educational video without direct ad compensation. - Over his catalog, Beato has had 43 videos blocked, occasionally salvaging them by cutting disputed music snippets (including prior clips of Black Sabbath and My Bloody Valentine). - Algorithmic throttling: re-uploaded videos that were previously blocked suffer from permanently suppressed reach and lower recommendation distribution. - Beato summarized his stance on takedowns: “I talk about blocking, about takedowns, about censorship. It's outrageous.”

[15:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=900s) Promotion, Legacy Acts, and Out-of-Touch Management

Rick addresses viewer inquiries about why staple heavy metal groups like Black Sabbath are frequently absent from his countdowns and analysis breakdowns. The reality, he explains, is pure self-preservation: producing a single video requires roughly 15 hours of intense labor, and he refuses to pour that kind of time into promoting an iconic band for free just to have their representatives immediately block the video upon upload. He expresses genuine disappointment over bands like My Bloody Valentine being taken down, but directs particular frustration toward Don Henley. Henley—whom Rick estimates is worth well in excess of $200 million—has positioned himself before lawmakers as a champion fighting on behalf of struggling working-class musicians. Rick dismisses this pretense entirely, noting that working musicians do not see the windfalls of heavy-handed copyright crackdowns, while independent online creators consistently champion, promote, and introduce legacy catalogs to millions of new listeners without charging a dime.

Turning back to the situation with King Crimson, Rick points out that Aviator Management handles far more legacy artists than just Robert Fripp's catalog, yet their leadership hid from the conversation once challenged on their copyright policies. Rick finds it absurd that at 58 years old, he has a firmer grasp on the digital landscape than older artists and managers who are only 10 to 15 years his senior. While modern progressive musicians like Tosin Abasi and Plini actively understand and embrace the reach of YouTube and Instagram, legacy figures are retreating behind obsolete barricades. Despite Henley's litigious reputation, Rick readily concedes that Henley was an exceptional songwriter and a phenomenal vocalist whose work deserves to be studied. However, Rick emphasizes that he wants no involvement in petitions or class-action lawsuits that drag on through the courts for decades; his sole motivation is educating and sharing musical history without being micromanaged or silenced.

- Rick's direct reaction to legacy bands blocking analytical content: “Because I'm not going to waste my time promoting Black Sabbath for free.” - Rick's core artistic mission on YouTube: “I'm too old for that. Those things go on for too many years. I just want to teach on here. That's it.”

---

[17:42](https://www.youtube.com/watch?v=RqvuEal2P2E&t=1062s) The Toll of Blocking vs. Demonetization

Rick pauses to put the emotional and practical cost of automated copyright takedowns into hard numbers. Across the 732 videos he had published on his channel up to that point, 253 had been demonetized, and 43 had been blocked entirely. Factoring in roughly five videos that he managed to salvage by re-editing and cutting out disputed audio snippets, roughly 38 completed episodes remain completely banned worldwide. In practical terms, that means 38 entire days of dedicated studio work have been wiped off the internet.

Crucially, Rick draws a firm philosophical line between losing ad revenue and having educational work erased. He makes it clear that flagship series like *What Makes This Song Great?* do not strictly qualify as fair use because they rely on isolated master tracks and original studio recordings. Rick has never contested the right of labels and master holders to claim 100 percent of the YouTube ad revenue generated by those videos, as the original artists deserve to be compensated. His fury is reserved exclusively for outright blocking, which prevents the educational breakdown and historic appreciation of the songs from being seen at all. He briefly reminds the audience of alternative ways to support the channel and keep his educational content alive, pointing viewers toward his 670-page Beato Book bundle, his ear training program, channel merchandise, and the Beato Club community.

- **Total channel output:** 732 published videos. - **Videos demonetized (revenue diverted to rights holders):** 253 videos. - **Videos blocked outright:** 43 videos (approximately 38 permanently wiped from the channel). - Rick's distinction on rights holders collecting ad revenue: “The artists deserve to make the money on there. No problem. I got no problem with that. I don't complain about that. Blocking, yes.”

---

[20:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=1200s) Testifying Regardless, Streaming Fortunes, and Parting Shots

As the stream nears its conclusion, Rick reflects on his upcoming appearance before the Senate copyright committee. He harbors no illusions about the political machinery in Washington and doubts whether his testimony will realistically alter federal law or rein in the DMCA. Even so, he asserts that a cynical outcome will not deter him from speaking the truth on record. He lambasts the major record labels for spending decades crying foul over digital distribution while decimating the traditional music industry model, only to finally orchestrate a streaming ecosystem that generates massive corporate fortunes at the expense of independent creators.

Before signing off, Rick consults with his producer, Billy, and instructs his viewers not to barrage Aviator Management with angry messages or harassment. The real casualty of their short-sighted strategy, Rick observes, is King Crimson themselves, whose enduring legacy is being insulated from the younger demographic eager to discover them. He closes the stream with a lighthearted jab at Don Henley's vintage drum production before thanking the community for their ongoing Super Chat contributions and unwavering encouragement.

- Rick's resolve to speak before the congressional committee: “I don't care if it's not going to do any good. That doesn't stop me. I don't care.” - Rick's assessment of King Crimson's representation: “The people that are not being served are King Crimson. They're just not being served right.” - Rick's humorous send-off to Don Henley: “Great singer, great songwriter, terrible drum sounds. Just kidding, Don. That was what the '70s were.”

## Mentioned Rick Beato, Billy, Aviator Management, King Crimson, 21st Century Schizoid Man, Tony Levin, Robert Fripp, Don Henley, Eagles, Universal Music Group, United States Senate, Black Sabbath, My Bloody Valentine, Tosin Abasi, Plini, What Makes This Song Great, The Beato Book, YouTube, Facebook, C-SPAN

## Video description What happened when I confronted the people that blocked my recent Top 20 video.

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[Source](https://www.youtube.com/watch?v=RqvuEal2P2E)

中文简报

Rick Beato就King Crimson YouTube封锁事件质问音乐经纪方尽管内容创作者接受视频被取消变现以让传统音乐人获得广告收益，但完全的版权封锁扼杀了音乐教育，并将经典乐队与年轻受众隔绝开来。在一段仅9秒的King Crimson歌曲《21st Century Schizoid Man》片段导致其“史上最伟大的20张首张专辑”视频遭遇全球下架后，Rick Beato详细讲述了他直接致电德国Aviator Management的过程，而对方拒绝置评。Beato将这起事件与其即将在美国参议院合理使用小组委员会上的出席联系起来，批评了唐·亨利（Don Henley）近期在国会的证词——该证词将独立创作者描绘为对传统音乐人的威胁。Beato分享了自己频道的后台数据——披露有253个视频被取消变现、43个视频遭到完全封锁——并在“将广告收益让渡给音乐人”与“教育性评述被彻底清除出平台”之间划定了严格界限。他最终指出，过度严苛的经纪公司和自动化版权系统不仅伤害了创作者，也损害了那些音乐作品被迫与年轻一代隔绝的传统乐队。因包含King Crimson 1969年歌曲《21st Century Schizoid Man》的9秒片段，Rick Beato的“史上最伟大的20张首张专辑”视频被Aviator Management在全球范围内手动封锁。 (0:00) 环球音乐集团雇佣了一支由60人组成的专门团队，每周工作五至六天，专门为唐·亨利（Don Henley）及老鹰乐队（Eagles）提交每周200至500起版权主张和下架通知。 (5:00) 在Beato的732个视频库中，有253个视频被取消变现，465个面临版权主张，43个遭到彻底封锁，导致约38期制作完成的节目从互联网上消失。 (17:42) Beato对取消变现与完全封锁划清了界限，指出他接受权利人拿走母带录音100%的广告收益，但坚决反对抹杀音乐教育的彻底下架行为。 (17:42)

Reading summary

Music educator Rick Beato argues that legacy record labels and management firms actively damage their artists' long-term relevance by enforcing aggressive copyright takedowns against independent educational creators who promote classic music for free. Zero-Tolerance Takedowns and Digital Disconnect (0:00) Beato's critique was sparked when his 'Top 20 Greatest Debut Records' video was blocked worldwide after a manual copyright review initiated by Aviator Management in Germany. The global takedown was triggered by just nine seconds of audio from King Crimson's 1969 track '21st Century Schizoid Man.' When Beato called Aviator Management directly to request an explanation on the record, company representatives declined to comment. Beato defends YouTube's platform architecture, explaining that its algorithms enable music fans to discover educational content. Instead, he places blame entirely on legacy management firms and publishers whose zero-tolerance enforcement policies demonstrate a complete misunderstanding of modern digital media and free catalog promotion. The Chasm Between Demonetization and Erasure (17:42) Beato establishes a firm philosophical distinction between rights holders claiming advertising income and platforms erasing educational content entirely. Out of 732 free videos published on his channel, 253 have been completely demonetized and 465 have received copyright claims, while 43 were blocked outright—leaving approximately 38 completed episodes permanently erased from the internet. Beato does not dispute the right of master recording owners to divert 100 percent of ad revenue on breakdown series like 'What Makes This Song Great,' acknowledging that using isolated master tracks does not strictly qualify as fair use and that original artists deserve financial compensation. His grievance lies exclusively with outright blocking, which destroys dozens of hours of labor and wipes educational analysis from public view. Congressional Testimony and Institutional Enforcement (5:00) Preparing to testify on fair use before a nonpartisan U.S. Senate subcommittee on July 28, Beato sharply contrasts the reality of online creators with Senate testimony delivered by Eagles frontman Don Henley. Henley testified that YouTube hosts roughly six billion posts—84 percent containing music—and stated that Universal Music Group employs a 60-person team dedicated to issuing 200 to 500 copyright claims weekly on his behalf. Beato rejects Henley’s framing of aggressive copyright policing as a defense of working-class musicians. He highlights that legacy rock icons with fortunes exceeding hundreds of millions of dollars are deploying corporate legal machines against independent creators, who earn a modest estimated $1,250 per million views and rely on audience-funded educational products rather than ad revenue to survive. Self-Preservation and Suppressed Music Discovery (15:00) Strict copyright policing creates an immediate chilling effect on musical archiving and critique. Beato reveals that he actively avoids featuring major acts like Black Sabbath simply out of self-preservation, refusing to invest 12 to 15 hours of unpaid production time into celebrating an artist only to have their management immediately block the upload. Even when disputed clips are excised and re-uploaded, platforms impose lingering algorithmic penalties that throttle visibility and permanently diminish a video's recommendation reach. Beato maintains that the true victims of this heavy-handed system are legacy artists themselves, such as King Crimson, whose management barricades their catalog away from younger generations eager to discover historic music. Although Beato plans to present his case before the Senate subcommittee, he expresses deep skepticism that political hearings will reform digital copyright statutes or counter the financial interests of major labels, concluding that direct public exposure remains the only meaningful tool for creators.

精炼阅读摘要

音乐制作人与内容创作者Rick Beato指出，传统唱片管理团队与资深音乐人推行的激进版权封锁政策正在扼杀独立的网络音乐教育；他强调自己并不反对版权方收取全额广告收益，但坚决反对直接封禁具有普及与推广意义的视频内容。九秒音频引发的全球封禁与交涉 (0:00) Beato在其评选“史上前20大首张录音室专辑”的视频中，仅使用了前卫摇滚乐队King Crimson于52年前发行的歌曲《21st Century Schizoid Man》中的9秒音频片段。随后，德国版权管理机构Aviator Management代表版权所有方进行了人工审核，导致该视频于凌晨4点35分遭到全球下架封锁。Beato澄清此事并非YouTube推荐算法的过错，而是艺术家团队及其管理机构执行的零容忍版权策略所致。Beato致电Aviator Management的德国办公处核实并寻求置评，但对方代表均明确表示不予置评。Beato曾与该乐队贝斯手Tony Levin有过合作并观赏过乐队演出，他认为这类传统管理机构完全未能理解数字网络平台的传播与宣发生态。下架封禁与广告去货币化的本质区别 (17:42) Beato为其频道面临的版权处罚列举了具体数据：在已发布的732个免费视频中，累计遭遇465次版权主张、43次全网封禁，其中有253个视频被彻底取消广告变现，相当于超过34%的免费视频无法产生直接广告收入。即使后期通过剪掉争议片段救回了约5个视频，仍有约38个完整制作的视频（相当于38个完整工作日的录制成果）被永久抹去。Beato在原则上严格区分了“去货币化”与“封禁”。他坦言自身的核心节目如《What Makes This Song Great?》由于使用了原始母带与分轨，并不严格符合合理使用（Fair Use）标准；他完全支持原始音乐人和母带版权方拿走视频所产生的100%广告分成。他愤怒的焦点在于全面封锁视频本身，这种行为直接扼杀了对经典音乐的教育性解析和历史传承。国会听证争端与传统音乐人的认知错位 (5:00) 受邀参加7月28日美国参议院反垄断与版权小组委员会听证会的Beato，对比了Eagles乐队主唱Don Henley在同个委员会上的证词。Henley在听证中主张YouTube上约有60亿个内容，估算其中84%包含音乐，且人工审核需耗费巨额人力物力；Universal Music Group因此雇佣了一支由60人组成的团队，每周工作5至6天，专门在YouTube和Facebook上发布200至500条版权主张与下架通知。Beato对Henley自诩代表“底层弱势音乐人”的立场提出严厉批评，指出Henley个人身家估计超过2亿美元，而内容创作者在YouTube上每百万次播放仅能获得约1,250美元的微薄分成。Beato认为，Henley等资深音乐人将创作者视为掠夺者，却忽视了基层音乐人根本无法从强硬的版权打击中获益，反而失去了独立创作者免费提供的海量曝光机会。算法惩罚机制与创作者的自我保护 (10:00) 版权封禁不仅直接删除内容，还会带来严重的平台机制惩罚。Beato解释称，即便创作者耗费精力剪掉被争议片段并重新上传，视频一旦曾遭封禁，平台算法就会永久性地压制其推荐权重与分发流量，造成不可逆的传播损失。由于制作一期分析视频常需投入12至15小时的密集劳动，Beato被迫采取自我保护措施，例如彻底放弃在节目中盘点与分析Black Sabbath等重金属乐队，以避免无偿宣发经典乐队后立即遭遇封禁。相比于Tosin Abasi和Plini等积极拥抱YouTube与社交媒体的新一代乐手，传统音乐管理层仍在闭门造车，而创作者只能依靠《Beato Book》教材或听音训练课程等受众赞助渠道维持独立运营。尽管Beato对参议院听证能否实质性修订DMCA或改变大型唱片公司与科技巨头的权力结构抱持怀疑态度，他仍决意在官方记录中陈述实情。他呼吁观众不要骚扰涉事管理公司，并指出这类短视的版权封杀最终伤害的正是经典乐队自身，使其作品与渴望了解音乐历史的年轻一代彻底脱节。

Detailed notes — zh

## Background 该视频由音乐制作人兼教育家 Rick Beato 于 2020 年 7 月 17 日在 YouTube 频道发布。根据页面简介，这是一场围绕其近期制作的“史上最佳 20 张首发专辑”盘点视频遭遇下架封禁后，他亲自致电并质问版权代理公司的始末记录与情绪宣泄。 ## TL;DR Rick Beato 因在一期耗费大量心血盘点的视频中仅仅引用了 King Crimson 乐队 9 秒钟的音频，便遭到德国版权代理公司 Aviator Management 的全面封禁下架，他在愤而致电对方办公室质问无果后开启了这场直播。Beato 详细公开了自己频道发布的 732 支视频中，有超过三分之一被剥夺变现资格、多达 43 支遭遇彻底封杀的数据，并针对老鹰乐队唐·亨利（Don Henley）在国会听证会上大肆抱怨网络侵权、雇佣 60 人专职下架团队的言论进行了尖锐反驳。他强调自己并不介意失去广告分成，但坚决抗议陈旧唱片工业对文化传播施加的粗暴审查与彻底封杀机制；尽管深感无力，他仍决定出席参议院司法小组委员会听证会，为网络创作者的生存空间据理力争。 ## Atmosphere & style 整场直播充斥着强烈的挫败感、义愤填膺与无可奈何的讽刺交织。镜头前的 Rick Beato 情绪激动、直言不讳，既有遭遇不公待遇时当面质问垄断机构的硬朗刚烈，也有目睹数十年心血作品被算法与官僚机制轻易抹杀时的疲惫与心酸。在助手 Billy 的协助与观众弹幕的互动中，他的情绪在严肃反思创作者生态困境与辛辣调侃老牌巨星脱离时代之间不断起伏，给观众带来极其真实、紧绷且引人深省的现场观感。 ## Bulletin - [00:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=0s) Rick Beato 因在一期盘点视频中仅引用了 9 秒钟 King Crimson 乐队的歌曲音频，导致整期视频被德国版权代理公司 Aviator Management 人工投诉并直接封禁下架。 - [05:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=300s) Beato 披露了频道的版权受限现状：发布的 732 支免费视频中，有 253 支被剥夺变现资格，遭遇 465 次版权主张，多达 43 支视频遭到彻底封锁下架。 - [05:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=300s) 老鹰乐队主唱 Don Henley 在参议院听证会上声称 YouTube 存在大量未认领版权音乐，环球音乐专门组建 60 人法务团队每周发出 200 至 500 起版权索赔。 - [10:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=600s) Beato 强调音乐创作者每 100 万播放仅能获得约 1,250 美元，他接受将收益让给原版权方，但坚决抗议粗暴下架、内容审查以及下架重新上线后被平台算法限流的机制。 ## Key takeaways - [00:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=0s) Rick Beato 耗费心血制作的“史上前20张最佳首发专辑”视频，因包含 King Crimson 仅 9 秒的《21st Century Schizoid Man》音频而遭到全球性封禁。 - [00:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=0s) 下架并非由 YouTube 系统自动抓取触发，而是由德国版权管理机构 Aviator Management 实施的人工审核指控（Manual review）。 - [00:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=0s) Beato 亲自致电德国版权方询问封禁原因，对方负责人拒绝沟通并仅冷冰冰地回复“无可奉告”。 - [00:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=0s) Beato 明确指出平台本身并非敌人，正是 YouTube 和 Google 的算法让好音乐得以传播，阻碍文化交流的是老派版权代理商与大型唱片公司的官僚作风。 - [05:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=300s) Beato 受邀参加参议院司法小组委员会就合理使用（Fair Use）与创作者权益作证，并严厉批评老鹰乐队 Don Henley 在听证会上哭穷的脱节言论。 - [05:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=300s) 频道数据显示出创作者生态的恶劣：732 支视频中超三分之一被取消变现，43 支被彻底抹杀下架，相当于约 40 天的全职劳动被直接废除。 - [05:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=300s) Don Henley 透露环球音乐（UMG）雇佣了 60 人的专职法务团队，每周工作 5 至 6 天专门搜寻网络平台以发起数百起版权打击。 - [10:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=600s) YouTube 上 100 万次播放仅约带来 1,250 美元收益，Beato 制作单支解析视频需耗时 12 至 15 小时，完全是免费为老牌艺术家做宣发推广。 - [10:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=600s) 视频一旦遭遇封禁下架，即便剪掉争议片段重新上线，YouTube 推荐算法的重置限流（Throttled）也会对视频流量造成不可逆的毁灭性打击。 - [15:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=900s) 因版权封锁风险过高，Beato 明确表示未来不会再在盘点视频中免费为黑色安息日（Black Sabbath）等缺乏版权弹性的乐队做宣传。 - [15:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=900s) Beato 澄清自己认可原作者拥有歌曲录音的版权收益，但他反对的是简单粗暴的“彻底封杀（Blocking）”和对教育解析类内容的扼杀。 - [20:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=1200s) 尽管对政客能否改变现状持悲观态度，Beato 依然坚持出席国会听证会，利用自身影响力为互联网音乐教育与创作者发声。 ## Detailed walkthrough ### [00:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=0s) 仅仅9秒片段导致新视频被下架，致电德国版权代理公司直播伊始，Rick Beato 与助手 Billy 调整了直播间严重的音频回声问题后，向观众倾诉了他当天清晨遭遇的荒谬遭遇。前一天他刚发布了一期盘点“史上最伟大的前20张首张专辑”（Top 20 greatest debut records of all time）的视频，结果当天早晨一醒来，查看 Creator 应用发现视频已于凌晨 4:35 被全面封禁下架。后台通知显示，版权方为来自德国的 Aviator Management，理由是侵犯了前卫摇滚乐队 King Crimson 的经典曲目《21st Century Schizoid Man》的版权。然而，Beato 在这段长视频中实际上仅仅播放了该歌曲 9 秒钟的音频，用于向观众介绍这首发行于 52 年前、名列音乐史传奇的首张专辑作品。面对如此荒谬的下架，Rick Beato 决定打破常规，直接在网上查到了 Aviator Management 在德国的办公电话并拨打了过去。在电话中，接线的工作人员最初感到十分错愕，Beato 表明身份并强调自己拥有一个超过 150 万订阅者的大体量 YouTube 频道，正准备针对此事录制视频，想询问对方管理层是否有任何官方回应。接线女士随后转接了一位男性负责人，当 Beato 质问对方为何因一段 9 秒钟、意在推介该经典之作的片段封禁整期视频时，该男子只冷冰冰地表示“无可奉告”（I don't have a comment）。Beato 明确指出，问题并不在于 YouTube 平台本身——正是 YouTube 和 Google 的算法将这些优秀的音乐内容精准推送给热爱音乐的人群，真正制定这种严苛下架规则的是老牌艺人身后的出版商和版权经纪公司。 - 被封禁视频主题：史上最伟大的前20张首张专辑（Top 20 greatest debut records of all time）。 - 侵权指控源头：Aviator Management（位于德国），代表 King Crimson 的歌曲《21st Century Schizoid Man》。 - 实际使用时长：仅引用了 9 秒钟的音频，且形式为人工手动审核指控（Manually reviewed）。 - 针对 YouTube 的辩护：“The reason that you guys can see my videos is because I'm on YouTube.”（你们能看到我的视频，完全是因为我身在 YouTube。） ### [05:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=300s) 国会听证邀请与唐·亨利（Don Henley）的版权抱怨针对音乐版权与合理使用（Fair Use）的争议，Rick Beato 透露自己已受邀于当月 28 日前往参议院司法小组委员会（Senate subcommittee）作为创作者代表作证。在接到无党派性质的作证邀请后，他的姐姐发来了一段老鹰乐队（Eagles）主唱唐·亨利（Don Henley）数周前在同一委员会上的听证发言录像。Beato 对老一辈音乐富豪在国会上的哭穷做出了尖锐批评，认为唐·亨利完全脱离了现代流媒体和网络传播的现实。 Beato 随后公开了自己频道的惊人版权数据：在频道发布的 732 个免费视频中，有 253 个被彻底取消变现资格（Demonetized），涵盖了他最重磅、心血最多的大体量视频；累计收到的版权主张（Copyright claims）高达 465 次，遭遇直接封禁下架（Blocks）的视频多达 43 个。随后，Beato 播放了唐·亨利在听证会上的发言录像。唐·亨利在视频中大肆抱怨 YouTube 上有 60 亿条内容，其中 40 亿条未被认领，84% 包含音乐，甚至声称处理这些版权问题像一场“无休止的打地鼠游戏”。亨利透露，环球音乐集团（UMG）为他和老鹰乐队专门组建了一个 60 人的全职团队，每周工作 5 到 6 天，每天坐在电脑前专门向 YouTube 和 Facebook 发送下架通知和版权索赔，每周发出 200 到 500 起指控。 ```mermaid flowchart TD accTitle: Rick Beato 频道版权受限与申诉现状 accDescr: 展示 Rick Beato 频道的视频总数以及遭遇黄标变现限制、版权主张和直接下架的数据分布 subgraph ChannelStats["频道视频整体现状 (共 732 支免费视频)"] A["全部视频总量<br/>732 支"] B["遭取消变现 (黄标)<br/>253 支 (占比超 1/3)"] A --> B end subgraph CopyrightImpact["版权打击与下架情况"] C["收到版权主张<br/>465 次"] D["遭遇全面封禁下架<br/>43 次"] B --> C C --> D end ``` - Rick Beato 频道具体数据： - 免费视频总数：732 支 - 被取消变现视频：253 支（超过三分之一，几乎涵盖所有播放量最大的视频） - 版权索赔通知（Copyright claims）：465 次 - 彻底封禁下架（Video blocks）：43 支 - 唐·亨利听证会披露数据： - 声称 YouTube 平台上有约 60 亿条发布内容，其中 40 亿条未经权利认领。 - 环球音乐（UMG）雇佣 60 人的专职法务监控团队。 - 团队每周工作 5 至 6 天，专门针对 YouTube 与 Facebook 监控侵权，每周提出 200 至 500 起版权主张。 ### [10:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=600s) 审查制度与创作者困境：算法降流与微薄回报看到唐·亨利在听证会上表现出的愤怒，Rick Beato 感到十分荒谬。他指出，在 YouTube 上获得 100 万次播放量，创作者通常仅能获得约 1,250 美元的广告收益，而顶级大牌音乐人却对此大动干戈，甚至宣称这是“为了底层独立音乐人着想”。Beato 直言，自己从来不为了视频被取消广告收益而抱怨，他每一期深入分析名曲的《What Makes This Song Great》系列视频通常要耗费整整 12 个小时进行制作与拆解，完全是出于对音乐的热爱而免费提供给公众。他真正抗议的是赤裸裸的审查、强制下架以及大唱片公司的官僚作风。 Beato 表示，虽然他答应去参议院作证，但他深知政客最终只会偏向科技巨头或垄断唱片公司，反倒是通过自己的 YouTube 频道直接向大众发声能产生更大的影响。大部分全职创作者一旦发布视频，就会立刻遭遇人工审核并被迅速取消变现，从而错失视频发布初期收益最高的时间窗口。为了让被下架的专辑盘点视频恢复上线，Beato 只能被迫剪掉那 9 秒钟的 King Crimson 片段（此前针对 Black Sabbath 和 My Bloody Valentine 的视频他也曾被迫做过类似剪辑），尽管一两个小时后视频得以重新上线，但由于曾被判定违规下架，YouTube 的算法推荐机制已经被重置和限流（Throttled），导致曝光度大打折扣。面对弹幕中冷嘲热讽的声音，Beato 愤怒地让助手 Billy 封禁恶评，并强调创作者在现行版权体系下面临着极其不公的生态压迫。 - 平台收益现实：在 YouTube 上达到 100 万次播放量，创作者大约只能获得 1,250 美元。 - 视频制作成本：一期深度音乐拆解分析视频通常需要单日连续工作 12 小时。 - 遭殃的知名乐队片段：除了本次的 King Crimson 之外，此前 Black Sabbath（黑色安息日）与 My Bloody Valentine（我的血色情人节）的引用片段也曾遭遇强制下架，最终均被迫剪除原声后才得以恢复。 - 算法惩罚机制：视频遭到 Block 下架后，即使通过剪辑侵权片段重新上线，系统推荐流量也会被大幅抑制（Throttled），造成无法挽回的曝光损失。 - 关于下架与言论管控的核心论断：“I don't whine about demonetized videos. I talk about blocking, about takedowns, about censorship. It's outrageous.”（我从不为视频失去变现资格而抱怨，我抗议的是封禁、下架和内容审查，这简直荒谬透顶。） ### [15:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=900s) 版权封锁对创作者的伤害与陈旧思维的脱节 Rick Beato 表达了对目前 YouTube 版权审查机制的极度沮丧与无奈。经常有观众询问他为什么在盘点视频里不包含某些传奇乐队，例如黑色安息日（Black Sabbath），Beato 对此直言不讳：“Because I'm not going to waste my time promoting Black Sabbath for free.” 他表示自己绝不可能为一个视频倾注整整 15 个小时的心血，结果刚上传就被对方勒令下架封锁。同时，他对 My Bloody Valentine 的作品遭到封杀也深感失望。谈到此前在国会听证会上大放厥词的 Don Henley 时，Beato 讽刺其身家早已远超两亿美元，却标榜自己是在“为其他音乐人争取权益”，这完全是无稽之谈，因为根本没有底层音乐人能从这种版权铁腕中获利，反而是广大创作者一直在免费为这些经典音乐做宣传。 Beato 重点批评了代理深红之王（King Crimson）等众多乐队的 Aviator Management 经纪公司。在视频遭下架事件发生后，对方表现得十分难堪且完全拒绝沟通。Beato 强调这些老派音乐人其实并不比自己大多少，75 岁的 Robert Fripp 只比 58 岁的他年长 10 多岁，他不明白对方为何无法看清互联网是未来的必然趋势。相比于这些固步自封的旧势力，Beato 的频道始终致力于推广那些深谙 YouTube 和 Instagram 重要性的新生代音乐人（如 Tosin Abasi 和 Plini 等人）。尽管他对 Henley 等人的作词和唱功给予了客观肯定，但他声明自己绝不会参与任何耗时多年的请愿或集体诉讼：“I just want to teach on here. That's it. I want to just give back to people. That's all.” 他唯一的愿望只是安心教学、不被打扰。随后，Beato 披露了自己频道长期遭遇的版权侵害数据。在制作并发布的 732 支视频中，有 253 支被剥夺了获利资格，而遭到彻底封锁下架的视频多达 38 至 43 支。这意味着他整整 38 天到 43 天的辛勤劳动被直接抹杀。Beato 强调，他承认在诸如《What Makes This Song Great》这类视频中使用原始录音并不属于合理使用（Fair Use），版权收益归原作者和唱片公司所有是完全合理且他心甘情愿接受的；但他坚决反对的是简单粗暴的“彻底封杀（Blocking）”。 - 频道作品总量：732 支视频 - 被取消获利（Demonetized）数量：253 支 - 被直接下架封锁（Blocked）数量：约 38 至 43 支视频（相当于约 40 天完全白费的工作量） - 频道支持途径：Beato Book Bundle（670 页 PDF，使用优惠码 RB100 可享半价）、听力训练课程（Ear Training Program，30% 折扣）、周边商城及 Beato Club 会员 ### [20:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=1200s) 坚持出席国会听证与最后的嘲讽总结尽管深感无力，Beato 依然决定前往国会委员会作证。他清醒地意识到个人的抗争或许无法立刻扭转乾坤：“I'm going to testify in this committee. I don't know why. It's not going to do any good. But I'm going to do it anyways, even if it doesn't do any good.” 这种徒劳感并不会阻止他发声。他痛斥主流唱片公司在摧毁了整个传统音乐商业模式之后，终于通过流媒体榨取暴利，如今又在流媒体和网络传播层面阻碍知识和音乐文化的普及。在直播即将结束前，Beato 呼吁观众不要去骚扰或给 Aviator Management 写信，因为他并不关心这家经纪机构；真正遭受损失和未能获得良好服务的是 King Crimson 自己。在与场外助手 Billy 确认要点后，Beato 还不忘拿 Don Henley 开玩笑，称他固然是伟大的词曲作者和歌手，但其鼓声录音音色实在糟糕（随后笑着澄清这只是对 70 年代混音风格的调侃）。最后，Beato 向观众的支持和 Super Chat 捐赠表示由衷感谢，并在致意中结束了整场直播。 ## Notable quotes > [10:00](https://www.youtube.com/watch?v=RqvuEal2P2E&t=600s) I don't whine about demonetized videos. I talk about blocking, about takedowns, about censorship. It's outrageous. — Rick Beato ## Mentioned Rick Beato, Billy, Aviator Management, King Crimson, 21st Century Schizoid Man, YouTube, Google, Don Henley, Eagles, Senate subcommittee, Universal Music Group, Facebook, What Makes This Song Great, Black Sabbath, My Bloody Valentine, Robert Fripp, Tosin Abasi, Plini, Beato Book Bundle, Ear Training Program ## Video description What happened when I confronted the people that blocked my recent Top 20 video. BEATO BUNDLE SALE: 30% OFF The Ear Training Program. Coupon Code: RB100 ⇢ Get It Here: https://beatoeartraining.com/ 50% OFF The Beato Book Bundle Coupon Code: RB100 ⇢ Get It Here: https://rickbeato.com/ BEATO EAR TRAINING → https://beatoeartraining.com THE BEATO CLUB → https://bit.ly/322AGO1 BUY THE BEATO BOOK HERE → https://bit.ly/2UsvaTD MY HELIX PRESETS →https://flatfiv.co/products/rick-beato-helix-pack-1 KEMPER PROFILES → https://bit.ly/34mF3EY SUBSCRIBE HERE → http://bit.ly/2eEs9gX —————————————————————————————————————— My Links to Follow: YouTube - https://www.youtube.com/c/RickBeato Follow my Instagram - https://www.instagram.com/rickbeato1/ Personal Facebook - https://www.facebook.com/rick.beato.1 Follow On Twitter - https://twitter.com/rickbeato —————————————————————————————— Special Thanks to My Supporters: Joe Armstrong Brian Smith Brandon Combs Robert Hickerty comboy Alan Nance Peter DeVault Bill Grubbs Phil Mingin Tal Harber Rick Taylor Bill Miller Gabriel Karaffa Brett Bottomley Matthew Porter Frederick Humphrey Paul Noonan Scott Thompson Todd Geisler Harry Brocious Jaime Villescas Jeff Peters Jared Vogt Todd Geisler Kaeordic Industries LLC Duane Blake Terry Van Belle Ilya Kravchenko Nathan Hanna Thom Theriault Kai Ellis Zack Kirkorian Joe Ansaldi Jonathan Wentworth-Linton Pzz Marc Alan Rob Kline Calvin Wells David Trapani Will Elrics Chris Defendorf Debbie Valle JP Rosato Dave Hawkey Orion Letizi Mike Voloshen Ashley Thompson Peter Pillitteri Jeremy Hickerson Travis Ahrenholtz [Source](https://www.youtube.com/watch?v=RqvuEal2P2E)

Source quotes

[10:00] Rick Beato: I don't whine about demonetized videos. I talk about blocking, about takedowns, about censorship. It's outrageous.

Original transcript

[0:00] started. Yo, yo, yo, what's up, everyone? Okay, so I put out a video yesterday. Top 20 greatest debut records of all time. And I woke up today. What's that, Billy? It has the... the same role. What is it? I love you, Zacho. It's echoing bad? Okay. uh... Maybe I just will turn this off here. Can anybody hear me? How about that? Is that better, Billy? Okay. Can you hear me now or not? Is that gone? Hello? Hello? Hello? That's still there. It's good now? It's good. Okay. Thank you. Okay. Am I good? Okay, so I wake up today. and I look at my emails. And I see that my video has been blocked. So I go and check on my Creator app and it got blocked at 4:35 a.m. So, How do I know that? Because I got this notice here. Check this out. It says, top 20 debut albums of all time. copyrighted content, 21st century schizoid man. That's... That's good old... King Crimson, right? And you see where it says manually reviewed by copyright owner or someone on behalf of the copyright owner. It says, "Aviator management Thank you. And so it's from Germany, okay? So, I was like, this is ridiculous. I go and look, and it's nine seconds of the song that I played. Nine seconds! Okay? *Sigh* So I said, okay, I'm going to try something different. And I look up to see if they... I'll look up to see if they actually have... a phone number, which they did, So I decided, okay, I'm going to call them. They're in Germany. I call him and I said, hey, My name is Rick. I have a YouTube channel. And I did a video yesterday that you guys blocked for nine seconds of use. And this is not YouTube. I see people that always put this stuff in there. It's YouTube's problem. No, the artists. Tell the publisher... or the manager. how much of a song that they will play in there. It's not YouTube's deal. And I'm not going to other formats or anything. YouTube is great. The reason that you guys can see my videos is because I'm on YouTube. And YouTube goes out there and... You know, you know, you're here because of YouTube. They go out and find people that are interested in the things that I talk about. All the different groups that I talk about, all the topics I talk about, YouTube goes out there with their... with Google and they find people to bring him in here. It's not about YouTube, okay? So. Anyways, so I call him up and this woman gets on the phone and I'm talking to her for a second and I said, yeah, I've got a YouTube channel. And I'm going to make a video about this today. And I just want to know if you have any content. She says, what? And I said, yeah, I'm making a video. I have a pretty big YouTube channel. over a million and a half followers. I'm going to get on and do this. I want to see if you guys have a comment on this. Hang on a minute. Then she puts some guy on the phone. Hello? And I said, yeah, I'm YouTuber. You guys blocked my video. It says you guys are aviation management, right? "Well, you blocked my video because I used nine seconds of a King Crimson song. Nine seconds where I was telling people about a song that came out 52 years ago. about how It's one of the greatest debut records of all time. And he says, I said, do you have a comment? Because I'm making a video about this in a few hours. And he says, no, I don't have a comment. I said, okay, just want you to go on the record that you have no comment. So I went to see King Crimson last year. They were amazing, phenomenal. Um... And I worked with Tony Levin in the past. Um... And he was an incredibly nice guy, right? Billy, are we still echoing Oh, we should be. I see this in here. No. Okay. So... they manage, aviation manages a bunch of different [5:00] artists, many artists, a lot of older artists like that. And they don't get this at all. They do not get how YouTube works. Okay. So complete aside here, I'm supposed to testify on a Senate committee, subcommittee hearing on the 28th about fair use. Okay. Now, when I got asked to do this, I said, this is nonpartisan, right? The guy that called me and asked me, I said, yeah. And I said, okay, fine, I'll do it. So I'll tell my sister about this. And she says, you know, I saw Don Henley testified on something with that. I'll send you the link to it. It's the same committee. Okay, he testified a few weeks ago. Because I'd seen an article about this, about his testimony, whining about how they don't make any money, how YouTube infringes on their copyrights all the time and he can't make any money. Okay. So she sends me this thing and I'm going to play you the Don Henley bit bit. Now you're going to feel you going to cry for Don here Okay Now I probably shouldn play this or talk about it since I testifying on it but I don care if they don want me to testify That fine It doesn make a difference I rather be on here talking about it because way more people will see this By the way, I'll get to this. Let me play this. By the way, I have a discount code for today's live stream. If you want to support my channel, this is how you support it because I don't make any money on these videos. And it's RB100, 50% off my Beato book, YouTube, Instagram transcription bundle, and 30% off my ear training course. Okay. So here's a Don Henley video. Listen to this. And here we go, Don. I can't hear it. Can I hear it? No. for the unemployment. Okay. Ah. Hold on. Okay. I'm going to play it from my phone here. I have to do it like this. It's unbelievable. But it's, you know, I never heard Don Henley talk about this stuff before Let see here I going to share it with my phone This is easier to do this way here By the way I going to tell you here the stats on blocks So I have 732 videos on my channel 732 free videos. Out of those 732 videos, 253 of them are demonetized. So a third of my videos are demonetized, which happens to be all my biggest videos are demonetized. Okay. So out of that, I had 465 copyright claims, 43 blocks, meaning 43 of my videos were taken down. Okay. There you go. Now here's Don Henley whining about him, about this. there are currently about 6 billion posts hold on let me get it so you can see him about his 6 billion posts let me just give you a perspective of the magnitude of the problem there are currently about 6 billion posts on youtube and out of those 6 billion posts 4 billion of them are unclaimed and out of those 6 billion posts 4 billion of them are unclaimed And out of those 6 billion posts 84 of them contain music Now let's say it takes two minutes to file a claim. So at two minutes per claim, it would take 200 million hours to claim them and take them all down. at minimum wage he's going to try to two billion dollars of course by then there would probably be another billion posts on YouTube so as has already been said as you said this is an endless game of whack-a-mole and the notice and takedown system is badly broken Universal Music Group administrates the publishing for the Eagles and myself and I have a team of 60 people 60 people work for him people who sit in a room with computers and all they do all day long, five days a week, sometimes six days a week is deal with the platform such as YouTube and Facebook. They file claims and they issue takedown notices for the Eagles and for myself. 60 people amount to between 200 and 500 claims a week. Okay. So he has sick. [10:00] He has 62. People. that go out there Five and six days a week to file claims against youtubers and he goes on to talk about how he's doing this for the smaller artists out there. Well, they're not making any money. He goes on to talk about how little you make from streaming and everything like that. It's like, okay, You make only this much from a YouTube video, so why are you whining about it? For a million views on YouTube, you make $1,250. Okay, that's it. $1,250. What about us? What about the YouTubers? What do we make? Now, I'm fine. I don't mind. I don't whine about demonetized videos. Right? People support my channel by buying stuff in my store Or being part of the Beato club. either buying my book, which is on sale, RBI, 150% off my Beata Book bundle. It's 600 and something pages. What, 670, Billy? A lot. 670 pages. Or my ear training course. It's on sale 30% off today. Same discount code. now What about us? What about us? What about the YouTubers that spent hours? You know how long it takes me to make a video like this? Not like this, but a video? It takes a long time. Do I sit there and whine about this stuff? Do you guys say, oh, my, do you hear me come on? Oh, my videos get demonetized. No. I talk about blocking, about takedowns, about censorship. It's outrageous. He's on there. If you see his face, he's just enraged over this. He's enraged. I mean, just look at his face. My God, it's ridiculous. I'm not here whining about stuff. I just don't like, I made a video for free, okay, for free. All my What Makes This Song Great videos I make for free for people to enjoy. I work on them 12 hours a day, typically it takes to make a video. and I don't get compensated from YouTube. All right? Now, it's very easy to... Uh... You know, I'm going to testify in this committee, but it's pointless because this video will do more. Me talking to you here on my channel will do more than this video that nobody's going to watch on C-SPAN. And none of these senators... This is really a bipartisan, a nonpartisan thing, because they're going to side with the big tech people anyways. right or they're going to sign with the with the record labels whatever And he's complaining about YouTube. It's like, come on. And then he goes on with what happens with a copyright takedown notice. Thank you. about how it is. He's talking about 250 of these a week. Oh my God, this goes on and on. It's ridiculous. What about the YouTubers though? What do they do? They just do this for free? Well, yes, they do. Most YouTubers I know, All their biggest content are manually Looked over, picked over. And they immediately demonetize the stuff. When the videos come out, when you actually make the most money. if you had a video that didn't get demonetized. Like I said, if you want to support my channel, It cost 39 bucks or so to buy my YouTube transcription, Instagram Beato book bundle. That's 675 pages. It took me years to write. You can support the channel for about half of a guitar lesson. And you can enjoy my 700 and what? How many videos do I have? 732 videos. 465 copyright claims. 43 blocks. so 43 of my videos not all of them there's probably about five videos that that I was able to clip out the offending parts. Black Sabbath. My bloody Valentine, believe it or not. Um, I clipped out. I clipped King Crimson right out of my video. And an hour or two hours later, I got put back up. You know what, though? When I got put back up... They throttle the views back because it got blocked. So not as many people watch it. That's the problem right there. That's the other thing. Whoever says get off my lawn, block them, Billy. Get off my lawn. Anyways, so... *coughs* [15:00] I'm going to testify in this committee. When people ask me, "Rick, why don't you have Black Sabbath in there?" Because I'm not going to waste my time promoting Black Sabbath for free. Well, that's not even for free. I'm not going to put in 15 hours of work on a video. so that they can take it down as soon as I upload it. No way. I couldn't believe my bloody Valentine. That really bummed me out. Don Henley's worth way more than $200 million, too. He's just out there. He's talking about fighting the fight for other musicians. Give me a break. No other musicians making money off this stuff. Come on! and YouTubers, They do all this stuff for free. Every one of my friends, all the big YouTubers, thank you, everybody, for all the... that are donating money here to Super Chat. Really appreciate that. Um... Anyways. uh... It's ridiculous that I have to get on and talk about this stuff. It really is. Thank you. But when I saw that Don Henley thing, And then I got this King Crimson thing. And these people, this management company, they don't want to talk about anything. They're embarrassed. But you know what? They represent a lot of different... a lot of different groups. this aviator management. A lot more than King Crimson. And they should know what they're doing on their behalf. And these old musicians... These guys aren't that much older than me. Come on. 15 years older? How old is Robert Fripp? 75? I'm 58. You know? How come I know better? That this is the way of the future. You know what? I try to promote... New artists on my channel. I don't just do this stuff. You guys saw... Want to interview Tosin Abasi? when I had plenty in here or I am promoting... artists, New artists. that realized that the importance of the internet of youtube of instagram of all these different platforms Um, Screw these other people, these old people. But you know what? It's important for history. These guys were incredible songwriters. As much as of a... I won't even say it, as Don Henley is. He was an incredibly good songwriter and a phenomenal singer. I'll give him that. And I don't want to be part of a petition. I don't want to be part of a class action lawsuit. Nothing. I'm too old for that. Those things go on for too many years. I just want to teach on here. That's it. I want to just give back to people. That's all. Okay? I don't need to make a big deal about anything. I just want to teach and be left alone. Let me do my thing. Sigh. That's it. Okay, so. Bye. Once again, I've made 732 videos. 253 of them are demonetized. 43 have been blocked. Think about that, 43 videos. that I worked on for a day. That's 43 days of my life. No, that's there's, there's like, there's probably five that I've clipped things out of. So it's probably about 38 videos. that I've put that I've put out that have been blocked. that I worked days on that got blocked. Can you imagine working for 30, 38 days on stuff just to have it blocked, right? When I'm praising and teaching God, everything I do on here for the most part, what makes a song great is not fair use. I'm using the original recordings. The artists deserve to make the money on there. No problem. I got no problem with that. I don't complain about that. Blocking, yes. Thank you. *Sigh* Okay. If you want to support my channel, You can buy my Beato book bundle, RB100. Thank you. Get my ear training course, RB100, 30% off my Beato Book Bundle, 670-page PDF. 50% off today. That's how you do it. You know, you can buy something in my store, a t-shirt, a mug. Or you can become a member of the Beato Club. I never talk about the Beato Club on here. I... You can look that up on my website as well. you know, I don't like to get on here and complain. [20:00] I'm going to testify in this committee. I don't know why. It's not going to do any good. But I'm going to do it anyways, even if it doesn't do any good. so there you go Put likes down on here. I don't care if it's not going to do any good. That doesn't stop me. I don't care. Um... These record labels are making a fortune on streaming. They figured out a way to do it finally. After they destroyed the music business and the whole model of the music business, they... Thank you. Thank you. They destroyed it then. All right. So that's all I have to say, everyone. You guys are amazing. Thank you for sticking around. You know how to support the channel. You can donate here, Super Chat, at least for the next 20 seconds while I'm on. Billy, is there anything else I didn't say or what? Covered about all of it. You don't have to write to Aviator Management or anything like that. I don't care about those people. The people that are not being served are King Crimson. They're just not being served right. Dan Henley, who cares about Dan Henley? My God. Great singer, great songwriter, terrible drum sounds. Just kidding, Dan. what the 70s were. All right. You guys are the best. I really appreciate it. Thank you for all the super chat donations, everyone. We'll see you later.