A Kiss from a Rose – Why the Rose is such a powerful symbol in the arts. By Sammie Venn.

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A Kiss from a Rose – Why the Rose is such a powerful symbol in the arts. By Sammie Venn.

Here at Jeeni.com we celebrate and support all musicians and performers, and poetry has its own dedicated channel for artists and performers to showcase their work and earn 100% of their sales, ticketing, merchandise and donations.

Last week Jeeni returned to Crowdcube to raise more funds for helping new talent. We have been very encouraged with the positive response as we reached our target in just 6 days and now overfunding If you want to see our pitch click HERE.

Today we showcase Sammie Venn as a very talented and creative writer.

The Rose has long been considered a symbol of the divine feminine; when my daughter and I moved to our home in East Sussex a few years ago we bought a “Coeur Rose”, a “Love Rose”, in hope that it would manifest exactly that. Consequently it has never flowered when it should, in fact it has blossomed during the oddest of times, throughout harsh frosty winters as well as scorching hot summers. I even found two perfectly formed flowers one New Year’s eve under a dusting of snow. Suffice to say I see it as a strong and firmly rooted plant that can spring to life in the most adverse conditions, In Tarot a rose is seen as a symbol of balance, it expresses new beginnings, hope and promise. I see our magical plant as something that has stood the test of time. It is full of boundless wisdom and copious richness, whilst her petals answer my prayers the thorns protect the splendour it bestows.

So why is the rose such a powerful motif in the arts? It appears as a mark of love, beauty and virtue within every creative genre. It is a recurring theme in ancient literature and features in the greatest love poems of our time. Christina Rossetti, William Blake, J.B. Yeats, Dorothy Parker, Rumi, Charles Bukowski all herald the rose in their prose as nature’s metaphorical flower of Love. Roses have symbolised God at work, the scent has been aligned to that of an angel and the Virgin Mary has also been called the “mystic rose”, “the rose without thorns”. Clearly its power as a plant is multifarious, from religious connotations to passionate exchanges, sincere friendship and spiritual holiness, the rose can mirror any human sentiment.

The Ancient Greeks and Romans associated roses with Aphrodite and Venus, the Goddess of Love. However they have also been used to communicate messages without words. It is not just Love that the rose represents but also confidentiality. The Latin term “sub rosa” translates as “under the rose” referring to the notion that something is told in secret. When a confidential matter was debated behind closed doors in Rome, the wild flower was placed outside to indicate that a private matter was being discussed.

It is not just literature that celebrates the rose, singer-song writers have immortalised the exquisite flower in their lyrics for centuries. Without doubt it is an iconic plant and holds a plethora of meanings depending on its colour. A crimson flower is for lovers, it signifies enduring and life-long passion. The velvety petals of a lilac bloom represent enchantment and love at first sight. A white rose reflects humility and innocence whilst a yellow bud expresses friendship and joy. Stems with pink flowers can be given to express gratitude, appreciation and admiration whilst those with an orange hue can portray enthusiasm and desire. Every mortal emotion can be aligned to this beautiful woody perennial. There are over 300 species and tens of thousands of cultivars, whether they are trailing, climbing or standing tall as shrubs, the rose comes armed with prickles and thorns making them strangely more beautiful in many ways. Leigh Bardugo in “The Language of Thorns” wrote that “Love speaks in flowers. Truth requires thorns”. This seems like a perfect metaphor for the life we live.

From Bette Midler to Janis Joplin, form Poison to Westlife, the rose has featured as a powerful overture in many songs and genres. It has been idolised for both its natural beauty as well as its harsher, darker side. Seal’s “Kiss from a Rose” was released in 1994 and again in 1995 when it appeared in the film “Batman Forever”. 25 years later it’s still a song that sends shivers down my spine, I can even hear it loud and clear in my head as I’m writing this article. But it’s the lyrics of Bette Midler that resonate like a thunder bolt to the heart. Harmony is not always achieved when everyone sings the same note. It is what lies between these musical tones that produces accord. The rhythm and rhyme that they ensue creates a melody that dances to its own beat and this verse from Midler’s “The Rose” does exactly that. The lyrics are haunting, rich, joyful, romantic, wild and intoxicating, just like the rose itself.

“When the night has been too lonely and the road has been too long
And you think that love is only for the lucky and the strong
Just remember in the winter, far beneath the bitter snows
Lies the seed, that with the sun's love in the spring becomes the rose”.

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06
Jun

My grandfather was killed by a rubbish truck.

Jeeni has returned to Crowdcube to raise more funds for helping new talent. Jeeni founding director Mel Croucher says, “I admit we’re ahead of our original schedule, but there’s still so much more to do. We need to scale our online platform globally now and build our mass artist showcases. Then we can hit all our targets, and give our new artists the recognition they deserve.” If you want to see our pitch click HERE. Mel has been writing the best-loved column in top-selling tech magazines for over 30 years. Now he’s agreed to share his work with all our members. He’s a video games pioneer and musician, and to to find out more about Mel check out his Wikipedia page. https://en.wikipedia.org/wiki/Mel_Croucher. Here’s one of Mel’s latest! One bright Autumn morning, my grandfather was killed by a rubbish truck. He got run over crossing the road on his regular walk to work. He was 84. And I am comforted to know that he loved his work as much as he loved his walk. As for me, I have yet to reach that ripe old age but I am still working most hours, most days. It's not so much that I love my work, more that I don't know what else to do. When I was younger, so much younger than today, I was promised a sci-fi world where all labour would be performed by robots, leaving us humans to enjoy a more meaningful existence. Before my grandfather was born, Karl Marx wrote that in a mechanised society workers would be freed from the monotony of work to “hunt in the morning, fish in the afternoon, criticise after dinner.” My grandfather certainly never saw such a sci-fi world or Marxist society, and I'm still waiting for it. But the way things are going I may not have to wait much longer for robots to take over the tedium of work. Judging by their behaviour, I suspect that most telemarketers, receptionists, estate agents and bar tenders were replaced by robots ages ago. And for drivers, machine operators and manual workers, it can only be only a matter of time. The first robot aircraft pilot took to the skies then navigated flawlessly and landed safely way back in 1947. Robots have been successfully conducting complex heart surgery since 2004. Artificial intelligence has already reached the cognitive power of a nine year-old human, in which case it is qualified to run for President of the USA in November. But do we really need political leaders to tell us how best to fill our waking hours? If we can develop all these technological wonders then we should be smart enough to work it out for ourselves. Our waking hours are dominated by work, whether we are in work or not. Strikers are depicted as troublemakers. Artists are depicted as idle. The poor are depicted as scroungers. The state cajoles the unemployed, the sick and the disabled to get off their arses and work. We are educated with the goal of work in mind, then having worked all our lives we are grudgingly handed back a mingy pension which we paid for in the first place. The idealised worker works in order to pay the childminder, the Deliveroo driver, the dog walker, the baker, the brewer, the app maker, because the idealised worker has no time left for such things. The idealised worker is too busy working to do any of these things for herself. For huge numbers of us the significance of the old certainties of community, religion, politics, and even family, have all fallen away to be replaced by work. For huge numbers of us work is how we give our lives meaning, while at the same time work has become more precarious, more impersonal, more stressful, and the app-driven gig economy is a perfect example of this. Yet everybody knows that automation is already capable of doing most manual jobs of work, and now artificial intelligence is predicted as achieving the capability of taking over most desk-bound jobs too. Since the pandemic, the entire framework of work is falling apart. But as a species we are not hardwired to work for a living. We never have been. We were lied to by those who said we must work, either to deserve a mythological afterlife, or protect an artificial realm, or for supposed honour, or someone else's glory, or for tokens of currency that can only be spent at the store owned by the company that issues those tokens in the first place. But of course all of those motivations are a con. And an obvious con at that. So here's the thing. Now we have cheap reliable technology, let's get all the robots to do as much of the muscle work as they can, and let's get all the artificial intelligences to do as much of the brain work as they can. Then let's redistribute the remaining working hours evenly to we the people, and in return pay ourselves some of that fabricated stuff called money so we can buy good food and decent shelter. By my reckoning six hours a day, three days a week will do nicely to pick up the slack left by the robots. Work needn't be useless. Work includes child-rearing, caring for the elderly and protecting the vulnerable. It also includes growing food, dreaming up new businesses and fixing the tap. And work includes creating music and dance and poetry and streaming it on Jeeni.com. It is self-evident that all valid work is worth the same valid reward. This is not a Marxist idea, or even a socialist proposal. It's the Tories who bang on about work being such a good thing and everyone pulling their weight, and I completely agree with them. Margaret Thatcher, that champion of work culture, said, “The heresies of one period become the orthodoxies of the next.” Yes indeedy, so bring on the robots and the electronic brains. If work is such a good thing then let everyone have a go for a few hours a week for a universal payment. And don't worry about how the payment is distributed, the accounts have all been reckoned by computers for years. Click HERE to visit or return to jeeni.com

17
Jan

Invest in JEENI

Grab your share of JEENI - the ethical streaming entertainment platform. Our new funding round is about to go live on Crowdcube. We've been approved by market-leaders Crowdcube and Seed Legals for our funding vision and due diligence, and our company value has nowgrown from £2.4million to £5million. Thanks to advance pledges from our wonderful Jeeni investors and followers, we've already reached £80,000 of our £150,000 target in less than 3 days. Now we want to reach 70% of our target before we go live, which means we’re likely to overfund with Crowdcube in record-breaking time, just like we have done in our previous rounds. The value of Jeeni lies in our IP and user databases, and here’s where these stand at the start of the 2023.• 4million total audience access across all media.• 200,000 Jeeni artist online followers.• 57,000 Jeeni partner online followers.• 20,000 Jeeni business online followers.• 5,000 registered independent musicians and performers.• 4,000 registered social media champions.• 2,500 artist showcases.• 500 award nominees.We have money in the bank, no loans, no debt, no creditors, no factor-invoicing, and a zero burn-rate. We will use your investment to expand our databases and boost our value for exit by acquisition. We invite you to join in now, before we go live on Crowdcube, so simply email shena@jeeni.com with the amount you’d like to pledge, and she’ll add you to our priority list. We look forward to hearing from you and welcoming you on board!

08
Jul

Zed, The Dreamer – ‘I died too’ Single Review

Charming, layered and dreamy, the latest single from this starry-eyed balladeer might be his most impactful yet. With a rich roster of influential artists like Bon Iver, Michael Kiwanuka and Matt Corby, Zed, The Dreamer has a wide and varied well from which he draws inspiration and these influences reveal themselves quite clearly across Zed's young, bright discography. The style of the previously mentioned muses can essentially be reduced to an initial representation of the broad genre of folk music, however, they all individually decide to expand beyond that folk core by enriching it with their own individual styles, experiences and personalities. This is a skill that Zed has adopted in full-effect. A notable element of Zed’s style is his subtle embrace of lo-fi aesthetics. Before, this has materalised as some unfiltered-out background fuzz in tracks like ‘Comfort (Not Love)’, but Zed's latest track takes this raw, casual sentiment to a further level as he uses it to almost reinforce the heart aching messages that he displays in ‘i died too’. The track whirs to life like a tape machine accelerating to the right speed, instantly giving off a warm, analogue tone to the track. The sudden click to silence after just a second of guitar also contributes to a feeling that this is an impromptu recording, straight from the heart, to the microphone. As more elements are introduced, this nonchalant façade crumbles and Zed’s ballad blossoms into a polished and astonishing chorus of love. Intricate and symbolic lyrics aren't needed for the confessional “Baby, I love you” chorus, because the verse has already provided poetic details into the relationship. Interestingly, after the first chorus, Zed doesn’t use its natural momentum to maintain the energy, but instead, he brings the composition back down to where we began with an interlude of radio-effect conversational samples and background ambience that replaces the full, lush textures that we just heard over the chorus. Once back down to the ground, Zed’s forlorn vocals begin to slowly levitate the piece once more with the next verse. The second verse consists of simple guitar-tapped percussion, rumbling bass and shimmering chords, all ornamenting Zed’s gentle acoustic guitar and crooning vocals which creates the folk centre of the piece. The second verse much more seamlessly feeds into the second chorus which now professes the title of the piece, “I died too” in replace of “I love you”. This heartbreaking variation to the chorus is such a clever story-telling device. It’s not often that a chorus is altered to reveal an entirely different side to an emotive narrative, it adds a stunning amount of weight behind an already compelling single. The piece winds down one final time as a more distant and mournful "Baby, I love you" is heard underneath auto-tuned vocalisations and a self-comforting "It's alright, now" repetition. This extended ending at almost a minute long is a beautiful finish to an already unorthodox song structure. A final, pensive guitar chord rings out to finish the piece with one last poignant resignation. Zed, The Dreamer will be performing at Victorious festival this August (26th-28th) so be sure to check him out if you have tickets!

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