Never too late for Jeeni!

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Never too late for Jeeni!

by Mel Croucher

I was a young man living in Stockholm. It was the summer of 1969 and I was flat broke. I had the clothes I stood up in, a diploma in architecture and a kazoo. I was too shy to be a busker, so I invented pay-on-demand live-streamed entertainment. I became a human jukebox. I got me an abandoned cardboard box just about big enough to hide inside, and I cut a horizontal slot near the top for my media input/output. Below the slot I punched eight holes to act as the graphic user interface. The reason there were eight holes was because I only knew eight songs, and I scrawled the song title alongside each hole. The idea was for passers-by to provide me with digital input commands by sticking their finger through the hole of their choice, and I would give them a short rendition of the selected song on my kazoo. As a token of their appreciation they would reward me with loose change dropped through a small vertical slot labelled Thank You in English and Swedish. It was very hot squatting inside that box.

So here we are, more than half a century later, and the music industry should be in crisis. As a result of the pandemic, artists and musicians have seen their venues close down, festivals cancelled, tours abandoned, and wary audiences slink off to go online. The new normal for live performers should be that they are well and truly buggered. But I am delighted to say the very opposite is true. The new normal has revealed that the traditional models for the entertainment industry were a hoax. All those record labels, agents, managers, ticketers and merchandisers were a bunch of parasites. Half a century later, the new generation doesn't even need a kazoo and cardboard box to squat in for a live performance. They've got smartphones. And they don't need to rely on passers-by to busk at. They've got a global audience, thanks to utilities like Soundcloud, Tidal and Jeeni. Even on Facebook we have the facility for interminable live broadcasts of self-indulgent shite from the box-room. And I'm not just talking about singers and musicians. The same applies to actors, dancers, poets, voiceovers and kazoo virtuosos.

There are more independent artists than ever before who have been able to break into the mainstream without any support from a lousy label, a poncy publisher, a suffocating sponsor, mingy manager or arrogant agent. This is an entertainment revolution, where digital distribution, streaming platforms, social media and online marketing tools have changed the way artists perform their work and reach out to fans. By cutting out all the spongers, an independent artist can suddenly enjoy a number of important advantages. To me, the most important is that they now have 100% complete control over the direction of their music, spoken word and creative work. They also have full control over distribution, marketing, artwork, merchandising, deadlines, gigs, ticketing, prices, schedules - in fact all of those affirmative decisions about their creative vision. But it's not just about control. The new normal means that independent artists can keep 100% of all the profits generated from sales, streams, licencing deals, merchandise, and small change dropped through cardboard slots. The reason they can do this is because without the parasites they own all their own stuff. Independent artists own the master rights to their creative work, which means they also have the freedom to negotiate licensing, streaming and publishing deals, and they don’t have to worry about shyster contracts, expensive lawyers, and signing over their rights.

Of course the parasites are not going to give up without a fight. Book agents, publishers, distributors and publicists are still clinging on, years after it became obvious that nobody really needs them now that anyone can self-publish in the digital age. In the music and entertainment industry the leeches will still argue that they are vital, even though they already know they are dead. They will keep trying to treat artists like idiots and tell them they don't have the money for mastering, or production or touring or merchandise. Which is a lie, because if artists don't have to pay the leeches then they will save the money. Artists will also be told that they have a limited network of fans and contacts, whereas organisations and labels have access to big fat fanbases and red hot connections with professionals, promoters, booking agents and media. This is an even bigger lie, demonstrated by the fact that even a no-hoper musician like me has a Facebook network big enough to fill The Royal Albert Hall, including the bogs, with or without social distancing.

The biggest problem I can foresee in this brave new world of independent entertainment is lack of discipline. Put simply, if creatives were once prepared to rely on a bunch of parasites and leeches, they must now learn to rely on themselves, and that involves actually getting down to some hard work and doing stuff, irrespective of whether or not they have oodles of native talent. Desperation and hunger is an excellent motivator, so I invite the independent artists and performers of the new normal to get hold of their own electronic cardboard box and give it a go. And above all, don't forget to have fun while you're about it.

Mel Croucher is the founder of the UK videogames industry, and writer of the most widely-read, longest-running column in computer journalism. He is the founder director of Jeeni and owns a black T-shirt.

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03
Mar

Artist Focus: Nnaomi

Describing her own music as “euphoric, experimental and nostalgic”, Nnaomi is paving her own exciting path in the RnB and neo-soul corner of music. Portsmouth based Nnaomi has been an essential Jeeni artist for some time now and has most recently added her newest single, ‘Hate Me’ to one of Jeeni’s most rapidly advancing and growing channels, RnB (https://jeeni.com/channel/all-channels/r-and-b/). “At just over 2 minutes long, 'Hate Me’ still manages to progress so organically and timely; it takes its time to set the pace and tone of the story told in the lyrics. At the climax of the track, it feels like Nnaomi’s painful memories begin to swirl more unstably around her head as samples and synths begin to distort, warp and spin around the stereo space. These flittering pieces of audio eventually start to drown out Nnaomi’s voice, painting a tragic image of her thoughts and guilt becoming overpowering and too much to process.” Check out the full review of ‘Hate Me’ here: https://jeeni.com/blog/nnaomi-hate-me-single-review-blog-jeeni/ This newest track promises a lot from Nnaomi and if her short collection of singles says anything at the moment, it’s that she can deliver on them all. Nnaomi describes her singles as “little stories”, “I say this because the songs I make come from my real emotions and real experiences, the beats I choose actually bring emotions and thoughts out of me I feel like I suppress because I’m surprisingly not very good at talking about my feelings, so instead I put it in songs. It’s the easiest way for me to express myself”. From this analysis into her own work, it’s no longer a mystery as to why so much emotion is contained in tracks like ‘Like Me’ and ‘Hate Me’. Mental health, and processing emotions healthily is certainly a recurring theme in Nnaomi’s work, as she explains, “Something that inspires me is my own ability to take advantage of the fact that sometimes my emotions are intense, finding a way to execute it in a healthy way has been amazing because I’m so used to bottling it up, which wasn’t beneficial”. Besides from her methodology in utilising emotions as a key inspiration for her work, Nnaomi’s has some specific masters in the alternative RnB genre to thank for her curious and adventurous creative tendencies. Progressive soul artist, Frank Ocean is a major influence for Nnaomi, as is modern neo-soul singer, SZA. When asked about the similarities in the titles of ‘Like Me’ and ‘Hate Me’, Nnaomi noted that the connection was both coincidental but likely sub-consciously intended at the same time, “I wanted to portray my mental state in a way that was artistic. “Like Me” was written when my views and thoughts on certain things were hopeless and reminiscent. “Hate Me” is like the healing sister. The one that’s accepted the way that “love” and its experiences can sometimes change you for the worst. A much more self-aware and grown-up outlook on love and how to deal with it”; a poignant and layered insight into this partnership of singles. Nnaomi hints at longer projects in the future, however she's currently happy “taking it one step at a time” with fantastic singles like ‘Party’s Over’, ‘Like Me’ and ‘Hate Me’. She’s also excited to arrange more live shows this year as restrictions are the lowest they’ve been in years. Follow Nnaomi on socials to stay updated on what she’s working on: Twitter: https://twitter.com/nomesm_ Instagram: https://www.instagram.com/naomim_0/ Check out Nnaomi’s showcase on Jeeni: https://jeeni.com/showcase/nnaomi/ How can Jeeni support artists like Nnaomi? 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
Jun

Mel's bedtime story

Once upon a time, I created a platform called jeeni.com which is where independent artists perform their music in front of new fans, and get rewarded for their efforts. On a Saturday night we ran a live global music festival featuring 18 acts from both sides of the Atlantic. The oldest performer was over 70, the youngest was under 10. They were brilliant, each in their own way. We broadcast over social media and websites. There were no adverts, there were no fakes, there was no hype. It didn't cost us a penny to run. Everyone had a ball. We are part of a revolutionary process that is killing a corrupt and rotting music industry which has held both audience and performer to ransom since the 1890s. So if you will indulge me, I'd like to tell you how, and why ... I'm an old hoarder, I hoard old music recordings, and when I say old I mean really old. Upstairs, in what was once a studio but has turned into an Irish Setter leisure lounge, there are several hundred wax cylinders from the 1890s. Each cylinder is a unique recording from an age before duplication was possible. If Miss Florrie Forde wanted to sell a hundred copies of Hold Your Hand Out You Naughty Boy to her adoring public, then she had to keep lubricated and trill the bloody thing into a brass horn a hundred times and record it onto wax in real time. But to me the beauty of these cylinders is not that each one is a unique recording, but that each one is mercifully short, rotating at 120 revolutions a minute and lasting a meagre two minutes, because that's all a wax cylinder can hold. And so the two minute pop single was born. At the start of the twentieth century discs replaced cylinders, but not a lot changed. I have another room full of shellac discs that spin at 78 revolutions a minute. When it came to pop singles from artists bringing joy to the world throughout the first half of the twentieth century, they had just under three minutes to do it in. And if they were any good, just under three minutes was plenty. I feel personally to blame for what happened next, because in the hour of my birth in 1948, the microgroove vinyl disc hit the market, spinning at what my Irish chums call dirty tree and a turd revolutions per minute. I have an entire wall of vinyl albums, with their glorious covers and sleeve notes. And yes, they are arranged in alphabetical order by artist and date-order of release. Their storage capacity is approximately twenty-five minutes a side, which is usually twenty-two minutes too long. And on the opposite wall is where all my CDs sulk, each one capable of storing seventy-four minutes of audio, and not one of them played since the turn of this century. Why? Because a hacker called SoloH went and ripped the source code of something called the Fraunhofer MP3 encoder and spread it all over the internet for free. Thanks to SoloH, I can not only digitise my entire collection of recorded music without any restrictions on playing time, I can access the entire library of everything that has ever been recorded, for ever. My phone weighs exactly the same as my 78rpm copy of Little Richard's single Tutti Frutti, which runs for two minutes 28 seconds of total perfection. My phone holds 21,417 tracks in MP3 format, some of them complete symphonies, which are pretty good, some of them prog-rock drum solos, as used by Viet Cong torturers to break the spirit of the enemy. My desktop hard drive and cloud-accounts contain too many tracks to keep track of. I declare that my motivation for amassing this ludicrous collection of music was that one day it would bring me comfort in my old age, when my body and brain become enfeebled and I feel the need to keep hold of past pleasures while dying. As it turns out, I started playing my collection early, during lockdown, and wished I was dead by the end of day three. The singles were great, but the albums were mostly insufferable. Which is when I realised that the music album is stone dead, and the nightmare of a lifetime of audio padding is finally over. Then the real truth hit me. The recorded music industry is dead too. Thanks to COVID19 there has been an explosion of new creativity. Everyone is now a record producer, anyone can run a broadcast music channel, and that's exactly what everyone and anyone seems to be doing, including me. The spongers and leeches and shysters have been exposed as completely unnecessary, as have most of the agents, publicists and managers. They are no longer able to milk performers in our new world of social distancing, because they have lost their power. It's the remote audience that now has the power, and this audience wants instant gratification, not a load of overhyped, overwrought, overlong, flimflam. Jeeni.com is my final project in a very long career. I'm giving my artists three minutes per track to nail it, because that's what my old hoard tells me is right. And I hope you agree that in order to shine, three minutes is all that anyone should ever need.

03
Dec

Weekly Round-Up # 5

The latest news on all things Jeeni, music and entertainment. BRITs announce the shortlist for the ‘2022 Rising Star Award’ Last year, the shortlist saw a vibrant and colourful shortlist consisting of Coventry rapper Pa Salieu, experimental electropop sensation, Rina Sawayama and finally the victor, Griff, a master in emotive pop songwriting. This year, a trio of female powerhouses makes up the shortlist, each with a distinct and remarkable display of strengths; Lola Young tends to leave space in her compositions for the raw power and emotional impact of her voice to shine first and foremost, whereas, Bree Runway takes a more bombastic, loud-and-proud approach with her floor-filling hip-hop bangers. Holly Humberstone, perhaps the most known here, seems to combine parts of both Lola’s vocal precedence and Bree’s grandiose and full instrumentals to make well-rounded pop hits. An exciting and promising collection of British artists, one of which are destined to join the ranks of previous prestigious winners including Adele, Florence + The Machine and Sam Smith. 64th Grammy Nominees Announced Speaking of nominees, the Grammy 2022 nominations were announced last week, featuring both safe and some daring inclusions. Jon Batise featured all over this year’s nominations list for his uplifting and soulful RnB sound. From record and album of the year to Best Contemporary Classical Composition, Batiste was in total nominated 11 times. At Jeeni, Keithian features a similar sense of joy and jubilation in his RnB style. Check out Keithian’s page on Jeeni: https://jeeni.com/?s=keithian Billie Eilish and her producer brother, Finneas also featured across many of the categories this year for their album ‘Happier Than Ever’. Other pop album nominees include Justin Bieber, Olivia Rodrigo, Ariana Grande and Brandi Charlie. Finneas also found himself on the ‘Best New Artist’ category along-side Mercury Award winner, Arlo Parks and cousin of Kendrick Lamar, Baby Keem. If Jeeni were included on the decision-making process, Ariana May, Marley Blandford and Olivia King would certainly be up for some of the year’s best pop performances and releases. Check out Jeeni’s pop channel: https://jeeni.com/channel/all-channels/pop/ Jazz legend, Tony Bennett features several times for his and Lady Gaga’s moving and nostalgic swing album, ‘Love For Sale’ as a respectable nod from The Recording Academy. Record, album and music video of the year are just a few of Bennett and Lady Gaga’s acknowledgments in the 64th Grammys. Check out Jeeni’s jazz channel: https://jeeni.com/channel/all-channels/jazz/ Licensing Leaders PPl and PRS Make Promising Action to Improve Progress on Diversity and Recruitment in The Music Industry Tomi Oyewumi has been enlisted as PPL’s equity, diversity and inclusion (EDI) partner as a step in the right direction to influence the industry towards a more diverse and inclusive future. Tomi explains the meaning of true diversity and the impact PPL could potentially make. “That’s not just for race and gender, but looking at other areas such as social mobility. It’s about how that has an impact on what we do at PPL, but also how we can then use that to influence the wider music industry as well.” PRS hired Colin Campbell-Austin as head of inclusion and employee experience in October. This position is responsible for recruitment, engagement and talent development in PRS. On the PRS website they had this to say about Campbell-Austin, “Throughout his career, Colin has ensured recruitment of diverse talent from all social backgrounds, created first-class inclusive recruitment processes, talent development strategies and leadership and development programmes, with a focus on people, diversity, and inclusion.” More diversity means more representation and experiences expressed in the industry from all corners, resulting in a more colourful and expressive world of music. An exciting development for the industry indeed. Splendour in the Grass, Truck and Download; Just a Few of the Recently Announced Summer Festival Lineups Although governments worldwide are currently assessing the risks of COVID-19 making a much un-welcomed potential come-back, it’s hard not to get excited for the potential wave of epic festivals that we could enjoy in the coming Summer of 2022. Australian festival giant, ‘Splendour in the Grass’ cautiously released their lineup after many reschedules and cancellations due to COVID. ‘Splendour in the Park’ typically showcases homegrown Aussie talent with UK and USA headliners. For 2022, the UK corner, features the previously mentioned Holly Humberstone, Liam Gallagher, Tom Misch and headlining the first evening of the weekend is the all-genre virtual sensation, Gorillaz. The American talent includes SITP veterans, ‘Yeah Yeah Yeahs’, New York rock icons, The Strokes and Tyler, The Creator. Australia’s representatives include the new and promising Genesis Owusu, Tim Minchin and Alice Ivy. Oxfordshire’s ‘Truck Festival’ also announced a star-studded (albeit slightly less varied) lineup for their big weekend in July 2022. Typically featuring an exhibit of the biggest current indie acts with varying levels of something a little harder for those that want it and next year will be no different. The festival promises the likes of Bombay Bicycle Club, Blossoms and Sam Fender alongside the heavier Kasabian, Shame and Dinosaur Pile Up not to mention indie legends, The Kooks. Continuing the increase in heaviness, another massive festival lineup announcement comes from the legendary Donington Park ‘Download Festival’. Headliners, Kiss, Iron Maiden and Biffy Clyro are joined by heavy rock and metal peers such as Korn, Deftones, Megadeth and Black Label Society in a collaboration to deafen the entirety of Leicestershire next June 10th weekend. Jeeni News: Kissing The Flint’s New ‘100 Or Less’ Music Video Success On the weekend, folk-rock act, Kissing The Flint released a dynamic and spirited music video for their equally feisty and powerful new single, ‘100 Or Less’. The video matches the emotional and hopeful message the single holds regarding covid and the arts not getting enough funding. Check out the video now, on Jeeni: https://jeeni.com/100-or-less-kissing-the-flint-official-music-video/ And check out the review of ‘100 Or Less’ here: https://jeeni.com/blog/kissing-the-flint-single-review/ Brand New DarkStarGraver Single Out today, ‘Gohan’ is the newest single from rising Portsmouth rapper, singer and poet, DarkStarGraver. Catchy and bouncy, DSG's newest track is textbook melodic hip-hop. Check it out now. Find out more about DarkStarGraver with our Artist Focus here: https://jeeni.com/blog/darkstargraver-rapper-singer-poet/ Jeeni PCs Still Available after Black Friday Sale! Jeeni has partnered with Chillblast to bring customers exclusive branded PCs designed for musicians and creatives. Chillblast is the UK’s Most Awarded PC Manufacturer. Find out more about Chillblast here, and discover why Jeeni has partnered with Chillblast to bring Special Edition music PCs with exclusive Jeeni branding. As well as a year’s subscription to the Jeeni Platform with each order worth £85. Chillblast Jeeni PCs are perfect for all musicians and creatives, whether you’re an independent bedroom pop artist or a music producer working on the next number 1 one single. Get the best deal on music PCs with our black Friday 2021 offer. Buy your Jeeni Music PC built and warrantied by the UK’s most awarded PC manufacturer here: https://www.chillblast.com/celebrity-pcs/jeeni-pcs. Jeeni Is Looking for You to Join Our Team! We are currently offering the roles of Sales Executive and Senior Developer as a part of the governmental Kickstart scheme and these roles are for ages 16-24 and on Universal Credit. We are also offering a sales internship for university students trying to get experience during their education. For more information, visit: https://uk.indeed.com/jobs?q=jeeni&l&vjk=a9b44f31a3321877 We look forward to hearing from you!

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