Jeeni Blog

Helping the next generation of talent to build a global fanbase

Mel Croucher - Multimedia Entertainment - Ahead of his Time.

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Mel Croucher - Multimedia Entertainment - Ahead of his Time.

Today, 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!

I produced my first multi-media entertainment at the age of eight. It was a birthday gift for my mum. I called it Smellyvision. TV sets had begun to appear in the cleaner homes down my street, but my family was still years away from owning one of those magic boxes with their nine-inch screens. So I made my own. I took a cardboard box and cut a porthole in it, and used my mum's crank-handle mangle to scroll up the storyline that I drew on the reverse of a yard of wallpaper. The soundtrack lasted just under three minutes, which determined the length of my entertainment. It was a recording by the singing cowboy Roy Rogers, played on a shellac disc that spun at 78 revolutions a minute, also driven by a manual crank. But the best bits of my Smellyvision show were the different pongs that accompanied each segment of the story. I can still feel the sting of my mum's flattened hand because I had used her special perfume to enhance the production. The scent was called Evening In Paris, and had been maturing in a little blue bottle too precious to use since the 1930s. I sourced the smell of horses after the coalman's wagon had passed by, and that didn't go down well with my mum either. But how can you have a multimedia show about cowgirls and cowboys without perfume and horseshit?

Capcom had exactly the same idea for their videogame Resident Evil 7, and I was not in the least surprised to discover that it too was horseshit. It was marketed as a "4D candle smelling of old timber and blood", with the brand name Blood, Sweat And Fears, and a burning time of 18 hours. The idea was to fire up the stinking candle to enhance gameplay, having handed over fifteen dollars for the privilege. As I have already said, it was crap, unless of course you managed to knock over the candle during your gaming frenzy, and emulate the zombies in the game by setting fire to your face.

It wasn’t the first time that Resident Evil had been used to extort money for idiotic multimedia ideas. Back in 2005, there was a crummy accessory for the Nintendo Game Cube device called the Resident Evil 4 Chainsaw Controller. It was nothing more than a standard Game Cube handset with a vibrator unit and a "realistic chainsaw roar", that sounded like a wasp trapped in a jam jar. But gamers seemed to be willing to lay out fifty dollars for the privilege of acting like dorks, so what do I know. In fact Nintendo are serial abusers when it comes to dopey add-ons. Who can forget their Super Scope wireless light gun? Well, just about everybody, it turns out. It was a truly dreadful lump of overpriced plastic that only worked with a handful of games, and devoured AA batteries at the rate of six every four hours. And how about the Nintendo Power Pad which cost anything up to two hundred bucks way back in the 1980s. This was nothing more than a little shiny mat with a dozen or so pressure sensors in it. The idea was to jump around its red and blue squishy bits in order to trigger actions during video gameplay, and break your ankles in doing so. That's why most players resorted to cheating, by going down on all fours and using their fists to bash it into submission,

My favourite Nintendo multimedia device is the DK Bongo. It's a totally stupid pair of miniature bongo drums, which suits me just fine. There's a built-in microphone to monitor my bongo-playing skills, and help track my progress as I play along to some of the worst music tracks in recorded history. To be honest, it works just as well if I clap my hands or produce fart noises, but sometimes honesty is not the best policy. After years of misuse, my DK Bongo still works fine and gives me innocent pleasure. Which brings me back to Resident Evil.

Since its launch, the Resident Evil series has generated just over one billion dollars, making it the most profitable videogame spin-off in history. The only reward I ever got for my Smellyvision efforts was a sore arse. But I have never claimed to be a profiteer in these matters, only that when it comes to multi-media innovation I have always been way ahead of my time.

Click HERE to visit or return to jeeni.com

15
Feb

Artist Focus: Alana Sukul

Stirring together funk, dancehall and electronic ingredients, Alana Sukul is rapidly building momentum with her unique take on modern pop.  Brand new to Jeeni, Alana Sukul has contributed five new tracks to several of our channels due to her music casting such a huge stylistic net. Born and raised in Fulham, Alana is currently studying Popular Performance, Vocals at BIMM, London where she continues to hone her already impressive skills as a vocalist, instrumentalist, producer and songwriter. Only recently, for her more dancehall inspired tracks, has Alana used external talent in the form of a producer to help her capture the tone and intention she has in mind. Aside from that, Alana is a total DIY bedroom pop artist and has done extraordinarily well for herself, particularly with her recent track, ‘Closer’ which currently has over 50,000 listens. Check out Alana’s Jeeni showcase here: https://jeeni.com/showcase/alana-sukul/   The poeticism in Alana’s lyrics is perfect for expressing emotive imagery that plain language simply can’t. ‘Emotions, heavy like water and you let me drown’, this particular line from ‘Healing’ seems reminiscent of the Mexican idiom, ‘blood is thicker than water’ meaning that family bonds are stronger than that of friends or love; the connection between the two adages is especially relevant considering the heart-broken yet regenerative narrative of this stellar track from 2020.  Although it would seem that the double single of the aforementioned ‘Healing’ and ‘IDNYT’ is Alana’s first release, she actually created a since-deleted concept project in college, as Alana puts it herself, “I made my first EP called ‘Genesis’ purely based around the struggle of mental health and how it can take a toll on one person.’   Nobly, Alana decided that the EP could be too honest and beak a project for fans to initially be exposed to, “I decided at 19 to remove the EP since I wanted to become a better inspiration for those who listen to my music and encourage them more lightly”. Ironically however, the ‘Genesis’ project and the creative decision that it inspired still formed her origin as an artist as is inspired her to begin again with a new mindset. This is when Alana began to work on ‘Healing’ and ‘IDNYT’ from her bedroom.  Alana’s broad sense of style is of no surprise when you consider the colourful collection of inspirations that she collected growing up. Motown, soul and hip-hop have influenced a lot of creative choices from Alana, however Caribbean-originated genres literally run through the veins of her more recent singles. Alana grew up with a variety of Caribbean styles thanks to her parents, “dancehall, soca and bashment have greatly influenced me since my parents are from the Caribbean”.  Alana also has an extensive list of artists she looks up to and dreams to collaborate with, “Vocally, my favourite artists nowadays who have impacted me would be Ariana Grande, Jennifer Hudson, Kehlani, H.E.R, Beyoncé and so much more.” Alana specifically credits Korean group, BTS for inspiring more in-depth meaning behind her music and lyrics. The newest track from Alana, ‘Good to you’ is an atmospheric and stunning single and is available on streaming platforms now. Check it out on Jeeni here: https://jeeni.com/good-to-you-alana-sukul/?channel=alana-sukul&rtn=btasc&artist=alana-sukul   How can Jeeni support artists like Alana Sukul?   JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience.  artist biography • 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. 

10
Dec

Portsmouth Based Tech Start-Up encourages local business to benefit from Kickstart, as December 17 deadline looms.

Local companies are up against the clock if they want to benefit from Chancellor Rishi Sunak’s generosity. The deadline to register for the Government Kickstart scheme, which pays for hand-picked new recruits to boost businesses, is Friday 17th December, so time is of the essence. Local entrepreneur Dr Shena Mitchell is founder of Jeeni, the ethical music streaming service with an audience outreach of over 3 million music lovers, and she is full of praise for Kickstart. “I have been hugely impressed by the quality of the applications, all our new recruits have been brilliant and they are a great asset to my team. So far we have recruited Marketing Executives, Sales Executives, Technical Developers, a Partnership Coordinator, as well as a Human Resource Manager to handle all these new recruits for us. In fact, we’ve been so impressed with the quality of our new applicants, that we’ve applied for another six recruits.” Her company has been working with their specialist partners Gradfuel, who are consultants for the Department of Work and Pensions, which is where the Kickstart grant funding comes from. “It’s a great opportunity for companies like ours to bring keen young graduates on board for a minimum of six months, and scale up our business. We not only do the right thing by helping new talent, but the cream of the crop could stay with us for years to come. Best of all, there’s no financial risk, with over £8,000 worth of grant money to support each young person taken on board.” The Kickstarter benefits are remarkably generous, and with only days left to register, Shena is offering to help local businesses take advantage. Benefits include £1,500 upfront grant funding from the UK Government, for each young person they enrol, in addition to their salary. 100% of their salary covered for up to 6 months and up to 100 hours a month. “Our partners Gradfuel are the experts in the market, and have raised £18.7m in Kickstart grant funding so far. We’ve had a 99.5% success rate in our applications, against the market average of 22%, supporting over 1,400 companies to process their Kickstart applications.” Full information and a direct link to registering for Kickstart applications is available on https://jeeni.com/kickstart/ shena@jenni.com 07703567196

06
Jun

Meet The Curators Behind Spotify Playlists - the A and R Dictatorship

Landing on an official curated Spotify playlist is for many artists a holy grail. To provide some insight, we hear from a Spotify editor about how they find the songs which eventually make the cut. Spotify seems to be the opposite of Jeeni, where the process is democratic and those artists that start trending are based on real votes, and whilst technology has moved on they are still in the dark ages where their music is still decided and dictated by A&R agents. And unlike Jeeni.com, with Spotify if they don't like the look of you, then you're not coming in! Guest post from Spotify for Artists by Khalilia Douze A Spotify editor explains how they discover songs to include in their curated lists. Being added to a Spotify playlist remains the dream for most emerging artists, as it exposes their work to some of the most-clicked on playlists in the world. But for many musicians and their teams, the behind-the-scenes process still feels shrouded in mystery. While there’s no formula for scoring a coveted slot on Pollen or RapCaviar, there is rhyme and reason to how the massive team of editors curate tracks. We spoke with one Spotify staffer, who helps oversee R&B playlists such as the genre flagship Are & Be, The Newness, Soul Coffee, Soul Lounge the Black Lives Matter playlist and more, to learn about their process and tips on how musicians can stand out when pitching unreleased music through Spotify for Artists. Spotify for Artists: What strategies do you use to curate playlists? The strategy is based on the playlist itself. Each has its own hypothesis, theme, or audience that we’re thinking about. If it’s one of the genre-specific playlists, like Are & Be, that’s the home for the current, biggest songs in that space. The Newness is new releases or developing artists. Chilled R&B, Soul Coffee, those playlists have a mix of current and some legacy and catalog artists. It really all depends on what the goal of the specific playlist is. What are you listening for when you’re curating? I’m listening for lyrics. I’m listening for melody. A lot depends on the playlist itself, and sometimes that’s the filter that I have. When I’m listening, [I’m like] Oh, this song would do good in this playlist or, This song could fit here for this moment. A lot of it is based on the audience. You have the specific genres, but then there’s a lot of cases where those lines are blurred. The instrumentation and the beat can determine an audience, so [we think about] where we believe the audience is for that particular song. Does song length play a role in how you’re curating? It depends on the playlist. Soul Coffee is more of a relaxing [vibe]. In our minds, that’s one of those where you would just get up in the morning and that’s what you throw on while you’re getting ready, eating breakfast, or reading a book on Sunday. I know that the people will just have it on, so that playlist has a longer time spent listening as opposed to the flagship, Are & Be, and The Newness. For The Newness, when people are listening to that or one where it’s developing artists and new releases, that’s more about discovery. People may not spend a lot of time listening to that playlist—it’s about skimming and seeing what’s out. Can you walk me through how you use the submission tool to discover music? Labels pitch to us every week. We’re able to get their submissions through there, but they also communicate with our Artist Label Partnership team. We’ll talk to them [about] what their plan is for their priorities. There’s a ton of music—it’s countless. That’s pretty much the majority of Mondays and Tuesdays, listening to the pitches that come in for that week. It goes to our whole team. We listen to everything. The rest of the week is updating the playlists and finding the space for them, reviewing what songs are already in the playlist, looking at the performance, and things like that. When it comes to tags in the submission form, what advice do you have? People should be as specific as possible and fill out every single thing to make sure it goes to the right people. Different editors might have different filters to differentiate. I’m listening for if it’s a cool song first and foremost, but past my opinion of it, do I know if there’s a home for it? It’s about being able to find it and [seeing] where it can fit. I’ve seen entries where it would literally just be the artist name and their title—that’s how it gets lost in the abyss. We’re not omnipotent, so we don’t know what we don’t know. Are there any rules about how many times an artist can be playlisted? No. Every curator is different and has [their] own philosophy on what songs are in a playlist. There’s no concrete rule. Click HERE to visit or return to jeeni.com