that the company had duplicates of everything destroyed. Universal replaced the King Kong attraction with King Kong: 360 3-D, based on the 2005 King Kong film. 2019 New York Times report In June 2019, The New York Times Magazine published an investigative article by freelance journalist Jody Rosen that alleged that the damage was far more serious than Universal had said. The fire destroyed Building 6197, a warehouse adjoining the King Kong attraction. In addition to more videos, it housed a huge archive containing multiple copies of audio and video recordings, documents ranging from legal papers to liner notes, and packaging materials and artwork belonging to Universal Music Group (UMG). The collection included the catalogues of UMG's West Coast labels including Chess, Decca, MCA, Geffen, Interscope, A&M, Impulse!, and their subsidiary labels. Rosen estimated the individual items lost range from 118,000 to 175,000 album and 45-rpm single master tapes, phonograph master discs, lacquers (also known as acetates), as well as all the documentation contained in the tape boxes. The article alleged some tapes contained unreleased recordings such as outtakes, alternative versions of released material, and instrumental "submaster" multitracks created for dubbing and mixdown. However, UMG found only one unreleased album potentially affected in the fire, and they located multiple copies of that recording and could still release that album in the future if the artist wishes to. Randy Aronson, manager of the vault at the time, estimates that the masters of as many as 500,000 individual tracks were lost. Rosen argued master recordings are irreplaceable, even if copies exist, because the original recording "contains the record's details in their purest form," citing Andy Zax, a Grammy-nominated producer and writer who works on reissued recordings. However, that claim has been disputed by many audio experts. including Analog Planet editor Michael Fremer, who said that due to use and natural decay, often safety copies become a superior source for reissues. UMG stated that even when the original master is available, the company often works from duplicates or digitized versions because the fidelity of the original master has deteriorated from overuse or from chemical interactions over time or for other technical reasons. UMG said it reissues thousands of recordings a year, and each project presents a unique set of challenges to overcome. In each case, UMG's team of experts use the highest fidelity recordings possible. Among the possible losses were the entire AVI