BIMM Music Institute is the largest dedicated music school in Europe and since our inception we have opened the doors to the music industry for thousands of students. We encourage creative freedom, provide real-world industry experiences, and bring together communities of music lovers.
With over 40 years' experience delivering education in the music sector, we know how to help you develop your skills. You bring the talent and the energy, we’ll help you build a network that you can build a career on. But don’t take our word for it, just consider the list of prolific alumni that have walked through our doors: Fontaines D.C., IDLES, Ella Mai, Gemma Bradley, Natasha Bent, George Ezra and many others. These music industry professionals are now at the forefront of an ever-evolving industry. And there’s room for you too.
As someone who has music in Ai training data, I don't really care about being compensated for the training or getting 17.45% of a few pennies from a download on a subscription service, basically nothing from streaming, or a fraction of a penny from a broadcast license with 0.000000001 cents in performance royalties. At some point, I think the reality here is that people aren't going to be licensing or paying royalties. For production music, those needing music in their productions will hire people good at generating music and focus more on lobbying for digital rights on the AI tracks generated. Personally, I think all the discussion on who gets what piece of the pie is a bit of a waste because I can't see the old school methods holding up much longer. Sure, there will still be big orchestras, bans, people writing manually, etc. The question is about the amount of work they will get when you can generate something just as good in a far shorter period. We can't forget that AI music is just starting. It will get to the point where it sounds just as good as Hans Zimmer unless it is intentionally sabotaged and has it's wings clipped.
Great to see a new generation appreciating Roxy Music. I first saw them on their first U.S. tour in 1972, with Eno. Their 3rd (Stranded) and 4th (Country Life) are the pinnacle of their creativity. Then work backwards from there to Ladytron song on their first album. After “Siren,” they transformed into the Bryan Ferry show, polished, but not as exciting or interesting as their first 4 albums.
KRS One was right and asked the right question regarding why they did not stand up for themselves! I love this Ethiopian proverb;"Dine with a stranger but reserve love for your family". They were pioneers because they operated from something more powerful and bigger than themselves, Love. BUT it does not mean that all you do must come at the cost of yourself and all that pertains to you such as family, community, nationhood,etc. To do so is unwise and it's a lesson a lot of us black people seem to fail to learn and we wonder where our honour is because "we love" people. If that love is doing nothing but is making you vulnerable to having things taken from you perpetually, you need to review it as it's most likely to be anything but! Love protects and preserves too!
Spotify isn't even paying most artists the piddling amounts they're owed from spotify streams anymore, but only paying the biggest, most popular artists.
Like every other poser who listens to BJM, I discovered them by watching DIG!, and after a rewatch or two, and listening to their later tunes, I honestly appreciate Joel more than Anton. (Yeah, whatever. That’s my take on it. Suck it.) More than the sum of their parts…..U can’t have one without the other. IMO.
