The $1m is gross income, pre-royalty slicing. The actual payout to artists on a label will be much lower.
The $3/album is post-royalty at the other end of the telescope, and the actual number varied by territory. The gross income to labels would be much higher.
So the final premise is incorrect. The real winners - the household name bands, artists, and soundtracks - made incredible numbers from their royalty slices which are impossible on Spotify today, especially once labels take their cut.
Drake may be getting lifetime sales of $400m, but a chunk of that goes to UMG for distribution.
Meanwhile there were vital scene subcultures around indie/rave/dance/hiphop where niche artists turned DIY music production, pressing, and distribution into a workable fairly well-paid full-time career. Those numbers mostly weren't logged.
Spotify dilutes the scene effect because everyone is competing with everyone else, globally, so it's harder to get exposure, even in a specific niche.
This doesn't seem that useful? Svalbard would require significant, continued supply. Unless the Russian navy is able to own the Barrents Sea, any force on Svalbard could just be waited out. Once the diesel is out, the defenses go down and they freeze. Not to mention that it is well in range for medium range ballistic misses from Greenland, Iceland and the Nordics.
In 2025+ you also need to count in deniable accident inducing naval drones - both surface and underwater types. So their position would be even more untenable
This has already happened. Just as in the US, all of the far-right "movements" in the EU are Russian fronts.
The two biggest targets are the UK and France, because both have an independent nuclear deterrent. If those are captured by puppets, expect nuclear explosions over European capitals.
This is not hyperbole. Russian government insiders have made it absolutely, unambiguously clear that Europe must be "crushed."
As a direct quote.
The real tragedy is oligarch complicity. Oligarchs and aristocrats in the US, UK, and EU have decided they have more in common with their Russian counterparts than with the native populations of their respective countries.
How many armies in the world, have ever had a person in uniform demand that "the other army must be crushed" ? ok, is there any army that did not say that, to each other, or to an audience? Get a grip on the invective and do not blabber!
Perhaps not, but I'm sure I'm not the only one who was vaguely favourable towards Israel before the invasion, and now, having watched what's been done in the name of "safety" with horror, considers the country a rogue far-right state run by corrupt criminals guilty of a very long list of crimes, just one of which was the creation of one of the most organised sex trafficking and sex abuse networks in recent history.
Quite the record.
But I don't see this as a specifically Jewish thing. There is clearly a cabal of extremely wealthy people who consider themselves above the law. The cabal includes factions of different ethnicities, and they seem to enjoy - and profit from - promoting nationalism and race hate and getting the peasants to wage war on each other.
We seem to be in one of the regular cycles where these crazies get out of control.
I'm sure it's all very entertaining. But no doubt modern PR and astroturfing techniques will make sure no one's opinion becomes so unfavourable that personal accountability becomes a real risk for these criminals.
Even so. It's really not a very satisfactory situation.
A small price to pay for having your democracy subverted by hostile propaganda distributed through social media, your politicians influenced by lobbying, and your smaller businesses killed by giant corporate oligopolies.
The $1m is gross income, pre-royalty slicing. The actual payout to artists on a label will be much lower.
The $3/album is post-royalty at the other end of the telescope, and the actual number varied by territory. The gross income to labels would be much higher.
So the final premise is incorrect. The real winners - the household name bands, artists, and soundtracks - made incredible numbers from their royalty slices which are impossible on Spotify today, especially once labels take their cut.
Drake may be getting lifetime sales of $400m, but a chunk of that goes to UMG for distribution.
Meanwhile there were vital scene subcultures around indie/rave/dance/hiphop where niche artists turned DIY music production, pressing, and distribution into a workable fairly well-paid full-time career. Those numbers mostly weren't logged.
Spotify dilutes the scene effect because everyone is competing with everyone else, globally, so it's harder to get exposure, even in a specific niche.
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