Jeeni Blog

Helping the next generation of talent to build a global fanbase

Jeeni is live on Crowdcube!

/ By Admin
Jeeni is live on Crowdcube!
Grab your share of JEENI - the ethical entertainment platform.
 
It's official! Jeeni has been approved by market-leaders Crowdcube, with the Jeeni valuation up from £2.4million to £5million in the short time since Covid dealt musicians and performers a hammer-blow. Now you can help keep entertainment back where it belongs and boost the careers of new talent by investing in Jeeni's brand new funding round HERE.
 
With no adverts, no fakes and no hype, Jeeni is putting 5,000 musicians and performers in front of a 4 million audience, and promising that their artists keep 100% of everything their earn via the Jeeni platform.

Jeeni promise to treat their artists and audiences ethically, fairly and with respect, and
will use your investment to expand their databases and boost their value even more.
 
If you like the sound of that, then Jeeni is live on Crowdcube now, and ready to welcome you on board. Click on the link right here to find out more about investing in Jeeni.
 
* and of course, investments of this nature carry risks to your capital. Please invest aware.
 

 

11
Jun

Inside Story with Keithian

Kethian is a Singer, Songwriter, Musician, Actor and Producer based in the US and who performed his song ‘Communicate’ in the JAM Festival collaboration in April.  Kethian is relaxing in his Californian back yard as the interview with Kate takes place. “You recorded your track ‘Communicate’ live from your home studio for the JAM Festival, we have all faced the technical difficulties of working from home over the last year, but did you face any whilst recording?” she asks.  He says that there were not any technical issues as such but recording at home always presents some issues, for example the neighbour had the lawnmower on but luckily, he didn’t think we could hear.  His song ‘Communicate’ is beautiful and very emotive. When asked about his inspiration for writing it, he said that it came from his friend, who so sadly committed suicide, and so the song was an open letter to this friend, as well as anyone else that is struggling and needs to communicate as it is one of those things that “you actually have to do to feel better or to get your thoughts out, so that’s exactly what that song was about.” Kethian was born in New Orleans into a “showbizzy family.” Kate asks about what influence their work had on him as a child growing up and how it inspired his music and career.  He grew up in Louisiana and Texas, “New Orleans is just full of music, everywhere you go”, his parents were in music as well as his grandparents so making music for him was something that “just happened, I’ve never known any different.” Kethian was previously signed to a major record label, but has ended up going independent, Kate asks why he made this decision  “It wasn’t really the best experience. I figured if I went independent, I could give myself the better experience, and control creativity and stuff like that, and now that I’m my own everything, I’m able to understand myself more as an artist, what I need, what I want, how I want to promote, or what songs I want to choose” he shouts excitedly. In 2018 Kethian was working on music for Rhianna, he said “it was one of those things that just happened, although she hasn’t actually released the music yet and I wish I had some insider knowledge as to when she will, but I don’t! Basically, after I left the label, I was a writer and producer...I was writing for various artists and one of them said ‘this is gonna be for Rhianna’ and I was like ‘what?!’ and that’s how it happened. I met the [person] that I work with now and produce most of my music with currently and it has just been cohesive since then.” Kethian is currently raising investment for his next project: “It makes me feel really good as an artist when someone invests in me because it means that they believe in me as an artist, and as an art, a lot of our motivation and motivators are to make people happy and just to feel something or have an outlet, so to be supported in this way makes me feel so much more confident.” In response to this comment, Kate explains what Jeeni is: a platform for new and upcoming artists which seeks to support them in the best way possible and asks Kethian what his advice would be for aspiring artists that are just starting out. “Simply be the best artist that you can be and be the most you can be in life for you. It’s one of those things…being an artist is so giving, you walk around with your art, you are your art, and so when someone says something a little different or a little insane, it touches you more…just be confident, stay close to your art and stay close to you as a person and just love every bit of it.” What can we expect from him in the future?  He expresses his excitement in regard to doing more shows with Jeeni and is hopeful for the future of live shows and touring as the world returns to normality after the Covid-19 pandemic.  He says that he ultimately wants to “put out as much music as my fans want me to and as much as I want.” Through AmplifyX, one of our collaborators from the JAM festival, Kethian is working on his new EP called Green Clouds which is due at the end of May and you can invest now. To find out more about Kethian, listen to his music and invest, please visit https://jeeni.com/showcase/keithian/

05
Jun

Can Twitch ‘Change the Economics’ for Artists?

Why channel subscriptions and “tipping” on the Amazon-owned platform could open up a significant new revenue stream for artists in the future. ByTim Ingham The explosion of music live-streaming during lockdown means most of the music business is now au fait with Twitch, but just for the newcomers: Twitch is an online platform that allows “creators” to host live video channels on its service. Fans can subscribe to these channels for three distinct price points: $4.99 a month, $9.99 a month, or $24.99 per month. Viewers of a channel can also tip (“Cheer”) creators using the platform’s fake money (Bits) that, obviously, actually costs real money ($1.40 for 100 Bits). Revenue paid for those subscriptions is split 50/50 (minus tax and processing fees) between Twitch and the creator, while the money fans Cheer is split approximately 70/30 in favor of the creator. A less-than-well-known fact: If you’re an Amazon Prime member, you can opt-in to Twitch Prime, which then supplies you with a cost-free subscription to any Twitch channel of your choosing. Or to put it another way: If an artist you love has a channel on Twitch, opting in to Twitch Prime allows you to pay them $2.50 per month, out of your existing Amazon Prime membership. Quarantine has brought more musicians flocking to Twitch than ever before, including the likes of Charlie Puth, Diplo and John Legend — who all appeared on Twitch’s Stream Aid in March to raise money for the COVID-19 Solidarity Response Fund. Twitch avoids the problematic “begging bowl” undertone that can plague artists on other direct subscription services like Patreon by offering fans something in return — an exclusive, interactive live video experience — that Olson believes has an immediate premium value in the mind of the audience. Twitch comments: “Ultimately the future of entertainment is live, interactive and community driven. It’s where anyone can play a role in creating a moment, and where the audience likes to participate and actually engage in the entertainment.” Twitch is particularly enthused about the idea of Gifted Subs, which enable someone to buy another fan of a Creator a subscription to their channel. “If you want to demonstrate your fandom and support an artist, right now there’s only so much you can pay for that Spotify subscription, only so much you can pay for a meet-and-greet, only so much you can pay for merchandise. We take the top off; you could contribute as many gift subscriptions as you want for that artist, you can Cheer as many Bits as you want for that artist.” Facebook Live and YouTube have presented their fair share of popular artist-to-camera performances of late, while Instagram has hosted arguably music’s most memorable recent live-stream series, the Verzuz battles (including RZA vs. DJ Premier, Swizz Beats vs. Timbaland, Babyface vs. Teddy Riley, and Erykah Badu vs. Jill Scott). Facebook last month announced that it will soon introduce the ability for live-streamers to charge fans for access to “events,” but made no mention of matching Twitch’s direct subscription offering. Twitch argues that its monetization options, which also include ad revenue sharing tools, set it apart from rival platforms. Even when physical venues are back to full strength, Twitch believes it will establish itself as a significant way for artists to generate money outside of their recorded music catalog, their publishing catalog and their ticketed live appearances. “We know artists make the vast majority of their take home revenue from live events, and we believe Twitch can be additive to that. Where it gets interesting is when you start to think about things you can do in a digital world that you couldn’t do in the [live] space. You couldn’t allow millions of fans into an intimate setting during a creative session, or [hold] an Ask Me Anything kind of Q&A roundtable. That feeling of VIP access is something we’re seeing a lot of artists leverage.” DJ/producer Illenium and rapper T-Pain,  have both recently invited their Twitch fanbase to contribute to writing sessions, via the service’s in-built chat mechanic. It is certainly early days for Twitch as a significant player in music. According to one recent report, Twitch welcomed 17 million hours of watch-time on “Music & Performing Arts” channels in April, up 385% year-on-year; but that 17 million figure made up just 1% of total viewing hours on Twitch in the month, dwarfed by the hundreds of hours of watch-time on video games-related channels. Another big challenge: Prominent songwriter and music publisher advocates have voiced concern over elements of Twitch’s licensing. David Israelite, CEO of the National Music Publishers Association, the D.C-based body that is currently threatening to sue TikTok for an alleged lack of licensing, says: “While some portions of Twitch’s platform are licensed properly, there are other large segments that contain massive infringement of musical works and it is disappointing Twitch does not do more to license its content properly. All social media sites and digital streaming services need to realize that music has value.” Twitch’s in-built karaoke service for its Creators, Twitch Sings, has been licensed by over 180 music publishers worldwide. “We have been working very directly with rights-holders as music evolves on Twitch.” However many artists Twitch attracts to its platform in future — and however many music licensing deals it signs — the company is clearly making an effort to establish its name in music circles during the current COVID-hit period. Twitch recently built a music directory that Olson says was “a real investment for us as a company”, and also launched a dedicated on-boarding area for artists. Tim Ingham is the founder and publisher of Music Business Worldwide, which has serviced the global industry with news, analysis, and jobs since 2015. He writes a weekly column for Rolling Stone. Here at Jeeni HQ, we think that Tim is a brilliant writer and clearly knows his stuff so we will be curating his work for all our members. #jeeni #unsigned #musicians #performers #timingham #musicbusinessworldwide #twitch

06
Jun

I have a confession to make.

Jeeni has returned to Crowdcube to raise more funds for helping new talent. Jeeni founding director Mel Croucher says, “Day 5 and we have reached 98% of our 100K target". 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 website www.melcroucher.net. Here's one of Mel's latest! I have a confession to make. I have been pimping a young model, and I confess my shame. My pimping is the result of a moment of weakness. I’ve had models before, and I understand their capricious nature. One moment they are willing to perform across my desk, and the next they freeze and refuse to let me do what I want to do. But it has not been any fantasy performance that’s got me hooked, it has been the fantasy looks. I was bored. I wanted colour. I wanted make-up. I wanted dazzle and glitter. I wanted tribal tattoos, hot bubbles, glowing tubes and a whirling fan-dance. Forgive me, but I’ve pimped my computer.In 1909, Henry Ford declared, “I will build a motor car for the great multitude. It will be constructed of the best materials, by the best men to be hired, after the best designs that modern engineering can devise. And no man making a good salary will be unable to own one.” He then added his famous line, “The customer can have his car painted any colour he wants as long as it’s black.” And so they were. Painted black. When I was young, cars were still mostly black, apart from the odd spot of lipstick around the exhaust pipes of those used in suicide pacts. As for computer manufacturers, they all followed Henry Ford’s marketing strategy for half a century. Except their colour of choice was not black, but the sort of beige favoured by dead maggots. The exception was the ZX Spectrum which was black, but the keyboard really was made of dead maggots. Apart from that aberration, beige was the colour. In fact the beige box came to be used as a term of derision for desktops, implying dated, boring specifications. For example, IBM's early desktop computers were not only very beige indeed, but also very box-shaped indeed, and most PC clone manufacturers followed suit. As IBM and its imitators came to dominate the industry, beige boxes became the unquestioned norm for boring desktop computer design. Even early Apple Macs were beige boxes, until Apple took the revolutionary step in 1987 of switching to the even more boring shade of Chicken Poo By Moonlight. Not long after, equally boring videogame consoles took over the world, until there were so many revolting grey Nintendos and Segas and Playstations and Gameboys, that they had to be transported across deep space to be turned into landfill on distant moons. Meanwhile all Earthbound computers were still fifty shades of grey, until one day Apple changed everything.I remember the shock when their 1988 iMacs were launched. Suddenly we had a choice of computers that looked like see-through giant jellybabies, in a range of five neon colours called gangrene, monkeybum, impetigo, barbie and mince. And that was the end of the adult era in electronics, as a collective madness took over computer marketing. Now users are persuaded to buy machines not for what they do in the adult world, but for their infantile appearance. Users who are normally sane actually enjoy miniature coloured LEDs, winking and blinking through transparent windows like a pixie brothel. Tubes of bubbling, gaudy liquids snake their way through the computer’s guts like tapeworms on acid. Miniature spotlights illuminate cooling fans and heat-sinks from the inside out. These days a serious gamer will spend serious money on a serious PC, then corrupt the whole thing by spraying it with Plasti-Dip peelable, durable, non-slip, rubberised, multi-coloured spew. Yes, I know I shouldn’t have, but a bloke called Xephos made me do it. Let me explain further. I have been influenced by the newly popular phenomenon of celebrity PCs, where people buy a particular machine simply because their heroes favour it, endorse it or actually commission it in their name. For example one of the world’s most popular videogaming channels on YouTube is called The Yogscast. Last time I counted, it had more than seven and a half million subscribers and over six billion views, and that’s a whole lot of purchasing power. Their founder, this bloke called Xephos, got a business partner of Jeeni to create “the ultimate Yogscast PC range to live stream and play games all day.” And as the factory os not far from me, I went over to mock. But I stayed to pray, and found myself mesmerised by the bloody thing. Bloody as in bejewelled with animated red illuminations inside the see-through casing. Which is how I joined this PC pimping revolution.And even non-gamers are at it. Most regular folk, who normally wear sensible shoes and don’t indulge in bear-baiting or country music, they too have joined the pimping revolution by expressing their personal proclivities via their mobile phones. In the beginning, all mobiles were universally Henry Ford black. Now even old age pensioners wave customised casings around, all lipstick colours, sparkles and cutesy-poo creature decorations. At least, that’s what mine’s like. But I still suffer from a residual shame over my pimping habit, and like all instant gratification I feel guilty because of it. In fact while looking for a replacement machine recently, I have been quite attracted by one of those shapely models with a bit of sobriety, experience and bulk. And yes, before you ask, it’s black. Click HERE to visit or return to jeeni.com