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BY I.B. BAD, LOS ANGELES
will alleviate some of the suffering. Concurrently, at the federal level, the CARES Act contains provisions that will benefit struggling music- makers. That’s a start.
It’s imperative that we support those who will lose their jobs. We need to help them survive as best we can, knowing that we’re all going to suffer some economic hardship. Most of all, we have to stay in place and do whatever else we can do to limit the spread of this disease. WTF is wrong with these states—like Florida and its stun- ningly shortsighted governor, Ron DeSantis—that keep their beaches open? WTF is up with these kids who ignore everything that’s going on so they can party at Spring Break? Bring in the National Guard and shut this shit down—we’re at war. No more dithering and gaslighting from our cowardly leader, whose lies and ignorance are more lethal than the virus.
have another go.
Big cuts in personnel and salary at Paradigm, UTA and WME
reflect the state of play, though Paradigm’s abrupt firings and peremptory halving of salaries was particularly upsetting. Paradigm could face a financial crisis within 90 days; WME, still staggering from its failed IPO, is also in dangerous waters. It’s worth noting that both UTA and WME announced that their chief execs would refrain from taking salaries for the time being.
The pandemic’s effect on the biz is enormous, and it’s changing the shape of deals. Not only are the sizes of deals for new artists returning to earth somewhat, but artists’ need for cash in a “gig-less economy” has temporarily altered the power dynamic in negotiations as rights holders gain new leverage with respect to terms. As the pandemic progresses, are most parties deciding to “put a pin in it” in terms of major-artist deals involving tens of millions?
For the time being, the major labels, publishers and top managers on both sides of the Atlantic, hunkered down in home offices, are in beast mode, preparing for battle. The CEOs of these companies—Type A executives accus- tomed to engaging in survival of the fittest—are our best and brightest. They’re so formidable that we expect them to rise to the occasion when the game is on the line. Now, more than ever, we’re counting on them to deliver.
THE COMING FIGHT: This is our test, our moment. We can—and will—beat this. We will, as a nation and as a global community, be back—in six months or a year, or maybe two. We’ve overcome adversity before. We’ve brought our industry back from all manner of destruction. We must prepare to do so again. Now is our time.
Let’s do this.
THE GROUND ATTACK: The poets of this generation, like the great artists who roused former generations in times of trouble and despair, can spark the consciences and fire the imaginations of vast global audiences. Their voices have never been more important than they are at this crucial moment. The arrival of a major new release, from both a commercial and an artistic standpoint, brings a sizable morale boost to the biz in these turbulent times. We earn our bread—and give our lives greater meaning—by helping those voices get heard.
The Weeknd’s new album is a creative triumph and a streaming juggernaut—and a stirring reminder of what great music can do to lift us all up. This is especially needful at present, when many other acts are said to be considering bumping their new releases due to the post- ponement of their tour—since the release of a new album is one of the major drivers of selling seats, where all their big cake comes from.
With so much at stake, many artists and their teams are now seriously contemplating a Plan B. That is, if your supersized tour on- sale was disappointing, you could cancel/postpone and blame the pandemic—then regroup, plan to release new music in 2021 and
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