KICKSTART your career: Introducing our super-star video wrangler Aleah MO

Jeeni Blog

Helping the next generation of talent to build a global fanbase

KICKSTART your career: Introducing our super-star video wrangler Aleah MO

JEENI are delighted to be employing with the Government’s Kickstart Scheme initiative.

Aleah Mo (she/her) was our first Kickstart recruit. Aleah is a 19-year-old dancer and dance teacher from Portsmouth. Since Aleah joined the team, JEENI has helped her to showcase her talent and keep 100% of the rewards.

Launched by Rishi Sunak last September as a result of the COVID-19 pandemic. The Government’s Kickstart Scheme provides funding to employers to create jobs for 16–24-year-olds who are receiving Universal Credit and at risk of long-term unemployment.

As a fast-growing new business, still in its exciting dewy youth. JEENI are delighted to have signed up for the scheme. The successful Kickstart employees are taken on for initial placement of up to 6 months. And given training to learn new skills, and ongoing support to look for long-term, permanent work.

To qualify for the Kickstart Scheme, jobs offered must be brand new positions that were not previously available at the company. For JEENI, this works perfectly as the company is currently growing and expanding at a rapid rate. Meaning that these exciting new roles have evolved naturally.

Aleah joined Team JEENI in March. As one of our Marketing Assistants, she creates showcases for many different independent performers like herself. And she’s already using the skills she has learned so far to promote her own talent and services. With Kickstart Employees working for up to 25 hours per week. Aleah says her hours easily fit around her busy schedule of teaching and dancing.

“JEENI is such a great company and the hours I work really fit around my dance, which is really beneficial for me, because I am a teacher, so most evenings I am dancing as well as on the weekends. “
Aleah Mo.

The Movement Initiative

The Dance Company that Aleah dances for is called The Movement Initiative (TMI). TMI is a Charity Dance School located in Southsea, formed to help dancers fulfil their full potential. By providing opportunities, facilities, and classes for dancers to learn excel, and perform regardless of their age and ability. TMI are World Champions in the International Dance Organisation. Aleah is already using what she's learnt as a Marketing Assistant for JEENI to help promote her dance school and increase their following. As well as her own individual talent, all or free.

Aleah, along with some other dance school members, and a wide range of independent dancers will also be featuring in JEENI’s next online festival! Our first themed festival, the theme, of course, being DANCE which Aleah is “super-excited” about!

If you’re interested in working for JEENI, featuring in one of our upcoming festivals or just want to find out how we can help you promote your talents and services. Contact the Business Helpdesk here: https://jeeni.com/support/

To check out the full Inside Story Interview with Aleah Mo click here: Inside Story: Aleah Mo interview

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13
Aug

Jeeni hits £100K of its funding target in 3 days

Jeeni has reached a whopping 67% of our Crowdcube funding target in record time, thanks to nearly 100 investors. Check out our pitch here and join in the fun. ttps://www.crowdcube.com/companies/jeeni/pitches/qD0WNq Jeeni is the ethical online platform dedicated to supporting unsigned musicians and performers by helping them reach a global fanbase. over 2,300 brilliant artist showcasesover 2.7 million audience outreachbuilt-in marketing tools for successkeep 100% of everything earned through the platformGRAMMY award-winning supporters No other streaming service helps like Jeeni Jeeni gives artists a built-in fan database to communicate and market to anyone who votes for them or likes their work. Safely, legally and all opted-in. With FREE marketing reports for all campaigns. Jeeni has a track record of success. Jeeni creator Mel Croucher founded the UK videogames industry! Now he has created the Jeeni platform, complete with all the tools, marketing and fan outeach that new talent deserves. He is joined by GRAMMY-Award-Winners and celebrities, including Roger Watson, the ex-boss of Arista Records, responsible for selling over 500,000 records. "We’ve all made it to the top, and now we’re giving something back to a new generation. We’ve got the experience, they’ve got the talent. Now we’re giving them all the tools they need to showcase their work on Jeeni, and get properly rewarded for their efforts, as well as own a piece of the action too.”Roger Watson, Jeeni Check out our pitch here. https://www.crowdcube.com/companies/jeeni/pitches/qD0WNq

04
Feb

Zeeteah Massiah - ‘Wat A Ting’, Single Review.

Zeeteah Massiah’s 'Wat A Ting’ is a brilliant, tongue-in-cheek poke at misinformation and its relentless spreading, all the while being a dancehall banger in its own right. As an ambassador of Jeeni, Zeeteah Massiah is certainly something of a Jeeni royal. She has been a big part of the origins and early stages of Jeeni and her support is invaluable. Zeeteah Massiah is a Number One Billboard Dance Chart star who specialises in Reggae, Jazz and house music and has worked with the likes of Tom Jones, Sting and Robbie Williams. Now, she makes incredible music with her husband, Paul. The clarity of the production in ‘Wat A Ting’ is perfect. The off-beat pulse is so neat and perfectly edited and that’s with so much else going on; broken glass, rapid reggae drumrolls and several layers of backing vocals all fly over each other but this track never sounds messy or unintentional. The attention to detail in the mix for this single is exhaustive and thorough. That approach to production results in all sonic layers staying in their corner, but interacting with each other in total coherence and clarity. Everything in ‘Wat A Ting’ is tight, staccato and playful in its nature. It sounds like Zeeteah and her husband, Paul had so much fun with every layer of this track. As a counter-point to the short, abrupt timbre of the rest of this song, the pre-chorus is cleverly, much smoother with the addition of sweeping backing vocals and strummed guitar parts. This soft, calmer section is a great spot for the deceptively, reassuring lyrics “No need to fear now, what’s going on here now.” before the accepting chorus, “We've all gone crazy.” Zeeteah’s voice is pitch perfect and so adaptable; her singing is soft and caring for the pre-choruses but aptly manic and wild for the ‘Wat a ting, wat a ting!” choruses. The care and precision she carries in her voice could only be that of a seasoned professional vocalist. Although the track is undeniably fun, it addresses an incredibly important issue, “They told me there was COVID in the 5G, they told me the earth was flat.” Underneath the lively, mischievous tone of the track, 'Wat A Ting’ is an exasperated resignation to the persistent spread and sharing of false information as a result of fear and ignorance, “It’s all very clear now, we’ve all gone crazy.” Check out this fun and important track here: https://jeeni.com/wat-a-ting-zeeteah-massiah/ And check out Zeeteah’s Jeeni showcase here: https://jeeni.com/showcase/zeeteah-massiah/ Album review How can Jeeni support artists like Zeeteah Massiah? JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience. • We give creatives, independent artists and performers a showcase for their talent and services. And they keep 100% of everything they make. • We empower our audience and reward them every step of the way. • We promise to treat our members ethically, fairly, honestly and with respect. • Access to artist liaison and a supportive marketing team.

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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