Why weird is my new wonderful.

Jeeni Blog

Helping the next generation of talent to build a global fanbase

Why weird is my new wonderful.

By Sammie Venn Jeeni's Official Writer, Columnist and Blogger.

The dictionary definition of weird is “extraordinary, out of this world” I remember the feeling of utter hope and merriment when I read that. I suddenly didn’t feel alone anymore. Once I fully released my inner oddball, the magic started to happen. The people who I thought I loved and loved me just fell away. It was like watching grains of sand slip through my fingers. At the time it felt like a gigantic loss but in hindsight it was the best gift I could have been given. I’m grateful every day for all the losses as what I have gained surpasses anything I could have dreamt of. I came out of the “kooky closet” said a tentative hello to my new surroundings and have never looked back.

Having always felt like I had trodden a different path in life, I used to feel embarrassed about my so called “weirdness”. A damaging label that was attributed over the course of many years. Always being on the periphery at school, shallow friendships and poor choices in men made me feel like there was something wrong with me.

Decades later I began the journey of coming to terms with whatever it was that made me feel a bit different. I read countless books, watched documentaries on Gaia, downloaded as many spiritual audibles as I could afford and after a period of counselling I realised that actually being “different” totally rocked and I certainly wasn’t the only one experiencing all those feelings of self-doubt. Self-doubt had finally set sail to distant shores and my passport to a happier more soulful life had been stamped with creativity with no expiration date.

My wired but wonderful List...So I’m not ashamed of saying that...

3am – the hour of writers, poets, musicians, silence seekers and overthinkers – In this crazy time that is 3am I really do achieve a lot of work. The silence is accompanied with prolific bird song and the sunrise paints a spectacular sunset across the fields. So there is no better landscape for creativity.

Gardening at Night -I water my roses at midnight in an old fashioned Victorian nightie with a gin and tonic in hand. The kiss of the night time breeze provides a magical space to reflect on the past 24 hours and plan the next.

Adventure at work -I have made a home office in my camper van and drive to various different places to work and mediate and be away from the humdrum of daily life. I need to be portable otherwise I feel stagnant and confined. My camper caters for most needs; a whistling kettle for fresh coffee, a writing station and insanely comfortable bed for those cheeky afternoon power naps.

Writing Erotica -I love to write erotic poetry and have an entire bookcase at home dedicated to naughtiness throughout the ages. Ancient manuscripts and recent tomes dedicated to Love, and all of the emotions surrounding it adorn the shelves.

Wild words and Soul Magic - I have about 10 different tarot desks I particularly Love Rebecca Campbell’s “Work your light” the illustrations are as magical as her words. I love to practice either quietly by myself or with my bestie in London. We savour our weekends as they are few and far between these days but we still write together and have created different worlds where we pretend to live like we were once warrior soul sisters. In fact lockdown has been perfect for that.

There are so many other things I do in my arsenal of “weird but wonderful” and I wouldn’t be without any of them now. Lewis Carroll wrote in “Alice in Wonderland” “you’re mad, bonkers, completely off your head. But I’ll Tell you a secret. All the best people are”. Definitely my mantra, it even sits as a plaque on my wall in the studio.

Have you got any practices or quirks that you embrace? We would love to hear about them.

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06
Jan

DarkStarGraver - 'Over The Bridge & Far Away' Album Review

If you had any familiarity with this Portsmouth rapper's refreshing and inventive brand of UK hip-hop, then it should be of no surprise that his newest album is as buoyant, animated and thought-out as it is. This is the first album DSG has released since becoming an integral part of the Jeeni mission. DarkStar has been an avid Jeenius since Summer last year and has been blessing the Jeeni database with vibrant and innovative artistry ever since. All seven tracks of this incredible project are on Jeeni right now. Jeeni is always looking to represent and uplift artists with visions as clear and focused as DarkStar. DarkStarGraver's biggest crime here is leaving us wanting for more content because although he's cohesively expressed a giant variety of emotions, styles and influences, he took just 18 minutes to do it! He justified the choice of a shorter album on Instagram, "New album is 7 tracks in total, could’ve been more but I like that number", DSG cleverly released this record knowing he has so much more in his artistic tank for the next project. A clear highlight on this record is the early, consecutive killer features on ‘Running Man’ and ‘No Brainer’ from Kid Crayy and Baby Panna respectively. DSG takes the reigns on these tracks at first and allows his fellow Portsmouth MCs to embellish the final push and create a rememberable climax for these standout tracks. Kid Crayy's attacking flow is restless and constantly bops and weaves around the beat. Baby Panna, however takes his time and makes each syllable hit harder than the last. Panna also performs the ear-worm 'Ride with me' hooks just before and after his verse which just completes the track. DarkStar made it clear that “This project is dedicated to the Portsmouth Hip Hop scene” and made a specific mention to the Portsmouth artists that predate him and thanked them for “Sparking the fire that made me want to rep my hometown as an artist”. A meaningful dedication to a blossoming music scene is a suitable sentiment for such an excellently put together and varied album. DSG uses his robust and adaptable voice so well on this project that at times, it sounds like extra, unlisted features. For example, a rather high-pitch singing voice for the hooks on ‘On My Way’ is then met with a deep and resonant rapped verse to finish off the short opening track. ‘Gohan’ (review) which was a single teaser for this album, features more of DarkStar’s contagious melodic rapping which is enhanced and made all the more effective with the excellent production of Zack Nailor at WRS Studios. The hi-hats and 808 bass in the beat for ‘Juice & Gems’ works so well with the jangly acoustic guitar sample, as though they were always meant to be heard together. In fact, the entire album makes such an effective use of samples throughout; ‘Slow Jamz’ has a romantic and theatrical strings sample which turns the rapid, trap-esque beat into a dramatic, epic cut that is just too short. DarkStar also hints at a feral, almost growling voice on this track which provides yet more evidence that DSG will never settle or stop experimenting with what his voice can achieve. The album ends with class and impact. ‘Over Time’ features a melodramatic female vocal sample which wails over a seductive lounge piano, sparkling under the rumbling beat. The bonus, shorter track, ‘Justice League’ is a moody album finisher containing reams of witty wordplay which flows like water. Once again, a feat like this album is a credit to producer, Zack Nailor as well as DarkStar himself of course for containing the talent, passion and vision to pull something like this off so seamlessly. How can Jeeni support artists like DarkStarGraver? 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. Check out DarkStarGraver’s Jeeni showcase here: https://jeeni.com/showcase/darkstargraver/

05
May

Artists' rights have been stuck like a broken record, until Broken Record asked for Reform

An open letter was sent to Prime Minister Boris Johnson on the 20th of April, demanding, finally, that there be a reform in music streaming services. Hoorah! We hear you say, but what does this mean? Well, everything that Jeeni stands for, in essence the fair and equal treatment of music makers and artists. High profile artists such as Sir Paul McCartney, Coldplay’s Chris Martin, Boy George and Jessie Ware, have all signed the open letter and petition asking for a regulator to ensure these actions, in order to make the UK “…the best place in the world to be a musician or songwriter.” The move was spearheaded by the Musicians’ Union and the Broken Record campaign but has garnered more than 150 signatures from famous faces across the UK music industry and the support of over 5000 musicians and fans. Since the launch of Spotify in 2008, streaming services have quickly become our primary method for listening to music instead of through the more traditional methods of radio and Television. What these streaming services don’t offer however, is protection and fair treatment of the artists and songwriters. In November 2020, as part of an investigation into streaming royalties, it was found that some artists were receiving just a fraction of a US cent per song streamed and worse, some no compensation at all. In order for this to change, only small amendments need to be made to the 1998 Copyright, Designs and Patents Act, however the outcome for artists could mean the difference in being able to pay next month’s rent or not as many have unfortunately experienced. At a time when we need to be looking for ways to restart the post-Covid financial recovery, a truly free market would allow a song to achieve greater profits and therefore, as the letter addresses, put more money in the pockets of UK taxpayers which can only benefit our economy. Fundamentally we don’t want to stop listening to and seeing the artists and musicians we love. When we are able, we want to dance along at concerts, sing our hearts out at gigs and sway to the rhythm that an artist has worked hard to create for us, so why should they not be paid and treated fairly? We want the music industry to thrive, and it is why we at Jeeni believe that it is so important to do this. You can support the petition at https://www.change.org/p/boris-johnson-put-the-value-of-music-back-where-it-belongs-in-the-hands-of-music-makers Let’s make 2021 a great and fair one.

07
Dec

Streaming Revenues - a tipping point?

At Jeeni, this is a subject we are following closely, being a platform set up to address this very subject. The balance of revenue on most platforms, is tipped far too heavily away from the artists, performers and writers, in favour of the suits and pen-pushers. Quite frankly, it's a disgrace! Jeeni's ethos is to ensure any performing members receive 100% of the revenue they generate. Should all streaming services work the same way? Journalist Dylan Smith, from Digital Music News has written the article below, updating how far the DCMS Committee has got with their fact finding and the issues to be presented on 11 December. Digital, Culture, Media and Sport Committee Chair Julian Knight. Photo Credit: David Woolfall British lawmakers have stated that artists are hesitant to participate in the ongoing investigation into streaming royalties “because they fear action may be taken against them” if they do so. The House of Commons’ Digital, Culture, Media and Sport Committee (DCMS Committee) announced the high-profile probe of streaming royalties last month. The comprehensive analysis aims to identify streaming’s impact on all relevant stakeholders, including labels and artists, as well as its long-term effects concerning “the sustainability of the wider music industry.” Last week, singer-songwriter Nadine Shah, Radiohead guitarist Ed O’Brien, and Elbow frontman Guy Garvey spoke before the DCMS Committee to address the contemporary music landscape. Of particular note was Shah’s statement that she doesn’t “make enough money from streaming” to cover her rent, despite having north of 100,000 monthly listeners on Spotify. Possibly in response to the abundance of information that the investigation has turned up thus far, the DCMS Committee also announced last week that it had extended the window for artists and others to submit written testimonials regarding royalties. From the original deadline of Monday, November 16th, members of the music industry now have until Friday, December 11th, to express their opinions. The probe’s upcoming oral testimony, for its part, is slated to take place next Tuesday, December 8th, with Maria Forte Music Services’ namesake owner, Ferocious Talent owner Kwame Kwaten, and José Luis Sevillano, director general at Spain’s AIE, set to participate via livestream. Ahead of the formal sitdown, DCMS Committee Chair Julian Knight has relayed that many would-be witnesses are opting not to come forward due to their fear of the potential professional consequences associated with speaking out against streaming royalties. “We have been told from many different sources that some of the people interested in speaking to us, in relation to this inquiry, have become reluctant to do so because they fear action may be taken against them if they speak in public,” said the Solihull MP, who became the DCMS Committee’s chair in January of this year. “I would like to say on behalf of the Committee that we would take a very dim view indeed if we had any evidence of anyone interfering with witnesses to one of our inquiries. … This Committee will brook no such interference and will not hesitate to name and shame anyone proven to be involved in such activity,” continued Knight. And in concluding his statement on the matter, the lawmaker emphasized that others who reach out to the DCMS Committee with information or insight pertaining to streaming royalties “will be treated in confidence.”

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