(Seriously, this was among the longest press releases we’ve ever seen.)Īs you may know, Disneyland Paris has been undergoing an unprecedented transformation since the Walt Disney Company took control of the resort complex, restoring park icons and classic rides as well as working on exciting experiences like the recently opened Marvel Avengers Campus and the upcoming Frozen-themed Land. This shares the opening date and extensive details about the new rooms, restaurants, Castle Club level, and much more. To quote Róisín Murphy: The Time is Now.The flagship 5-star Disneyland Hotel has been undergoing an extensive top-to-bottom overhaul for the last 3 years at Disneyland Paris, and will finally emerge from the reimagining in early 2024. A tiny correction would divert a little money to the new talents of tomorrow. Streams over 10 million, though, are pure profit. They are the ones that pay for the hard yards people put into finding their voice. If Universal withdrew its catalogue – Drake, Taylor, etc – streaming services would become niche players overnight.īut, if UMG and the other companies were to sit down and agree a model that just in some minuscule way skewered the royalty payments to slightly favour new and emerging artists and established but less popular acts, it would be a total game-changer. Universal is effectively flexing its muscle here, as it should do. Hopefully, it'll mean no more bots or white noise. Other streaming services are expected to follow. After a deal with the Deezer service in France, more money is to be diverted towards professional artists, those who get a minimum of 1,000 monthly streams. So, Universal, one of the biggest players in the market, with 40% share, are demanding a first change to the royalty system with the streaming services in 15 years. From the dark days of the collapse in CD sales, streaming services now pay them an estimated at $25 billion a year, a sum that would not survive an AI deluge. It would destroy a model that has saved the record companies. The good news is this is in no one’s interest. Take a quick listen to Frank Sinatra’s new recording of ‘Gangtsa’s Paradise’ and imagine that tech set to “imitate the greatest hits of the day.” It is predicted that under such a scenario – AI running riot – Spotify could find itself home to one billion songs. There was talk of “streaming farms” with banks of devices running on a loop.Īnd this is before the AI monster has been let loose on it. They estimate 10% of all music streams are fake. JP Morgan, in a recent report on the music industry, discovered that if you uploaded a 30-second track and then programmed your phone to listen to it 24 hours a day, you could make $1,200 a month on Spotify. It’s like finding a K-Tel version of Rumours inside the sleeve of the Fleetwood Mac album. But it won’t be The Beatles, Glen Campbell or Diana Ross. If you type in say ‘60s Hits’ into the search bar of most streaming services, it will bring you to 60s Hits like ‘Twist and Shout’, ‘Wichita Lineman’ and ‘The Happening’. How many of the 60,000 would hold a candle to their worst B-side? On a daily basis, would it be five? The Beatles released about 213 songs in their entire career. I looked up from my reverie and thought: “There is going to be an avalanche of shit.” Twenty years on, with streaming ubiquitous, and many traditional industries destroyed, I see I was wrong. Just ten tracks, and a note attacking anyone who didn’t share their vision. There was minimal cost, no studio access required, no producer, no feedback. The traditional gatekeepers, the impediments that stopped two lads walking home from the pub recording their musings, were being removed. A young band, any band, could record itself, declare this to be an album, and deliver it to your inbox with a note saying, “Why will you not support young bands?” This coincided with the advent of cheap home, often Apple-based, recording facilities. The proliferation of MP3s, and free file sharing, seemed unstoppable. The idea of music “being free” – like some hippie ideal – was starting to take hold, albeit nothing like it would when streaming arrived ten years later.
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