JULY 2024
Jennie first found her way to advertising through the agency side, landing a gig as an entry-level creative at Publicis, while spending her nights and weekends moonlighting as a local DJ. Her voracious appetite for music did not go unnoticed by her colleagues and she was quickly pulled into pulling music for pitches; it was then that she realized the potential to carve a path for herself in the advertising music space. Pairing infectiously positive energy with her penchant for being an unyielding champion of all of her team members and collaborators, Jennie has built a career on ruthless creativity and a passion for making a difference. With countless projects under her belt as both a producer and music supervisor, she regards her proudest work as those driving social impact.
She worked on the spot “Widen the Lens” for P&G, which shows the harsh reality of how implicit biases spur systemic racism, launching the brand's campaign to widen the view of the joy, beauty and vastness of Black life for which she was recognized at the D&AD Awards and Webby Awards. She also contributed to the spot “Rise and Shine” for the Trombone Shorty Foundation in collaboration with the Jazz and Heritage Foundation of New Orleans, which featured of a cover of “Everything I Do Gonh Be Funky” to promote virtual music lessons as an endeavor to keep musicians working amidst the pandemic.
Read on to hear more…
MASA: Can you tell us how music played a role in your formative years and how that passion eventually led you to become a successful producer? What was the turning point, or ‘big break’, that launched your career?
JENNIE: Music has always been threaded throughout my life. I didn't realize I was different - seeing images with music / living with Synesthesia. It began with winning free CD's while working at an electronics store in high school, then DJ'ing house parties, then making and selling mix CD's under a company called "DON'T SUE ME PRODUCTIONS. I think the biggest moment was when one of my work colleagues pulled me aside whilst working at Publicis ad agency saying "you know, you can find music full-time!" I never knew I could actually gain a living working in music. I almost immediately transitioned from being on the ad agency side and went to a music production house to observe everything that takes place in this world, moving up quickly. I actually think what has helped me the most as a producer and in my career is not my love for music - that's too easy - it's actually the unspoken connection to artists, everyone I meet in this role is an artist: Producers, Composers, Creatives, Clients, even Account Managers. We are all working to put forth a piece of art into the world -- together.
MASA: Can you put your finger on anything that’s made Squeak E. Clean one of the most respected production companies in the industry? How is it that you help agencies and brands so successfully think about what music is right for them?
JENNIE: At one of my jobs within music and advertising, I was tasked with finding spots that inspired me - an applicant "homework" assignment, if you will. I remember coming across this piece I had watched on television, mesmerized, curious, and in love with the music... sure enough, it was Squeak E. Clean's spot for Adidas, Directed by Spike Jonze and scored by Squeak E. Clean and Karen O. from the Yeah Yeah Yeahs. Ever since then, I had kept my eye on Squeak E. Clean, seeing them make incredibly creative decisions around award-winning projects and also brilliant business decisions. They always have had this air of edge.
Being a part of the company now, I always get down to the foundational goal of each campaign with clients, glancing at the project-focused "mission statement" each time. That, and also - what makes us all feel something - following that rabbit hole until we've hit the gold. It's such an honor to be trusted with such amazing projects and incredibly fulfilling to watch it come to fruition so successfully, each and every time.
MASA: Working on both the agency and production side of things must have given you a comprehensive understanding of the industry - and made you pretty darned effective! Can you elaborate on how this dual background informs your approach?
JENNIE: Ha! I try! Each day is a new journey. Working on both the agency and production side of things has been incredibly helpful to my approach with music, clients and brands. I've also managed bands, too (believe it or not) so I see how all parties contribute and get involved in this amazing process. The theme throughout each of these roles is: we're all trying hard to do great work, and be proud of that work - and then go home and enjoy our evening. I "hear" each person and I know we're all working to get each project across the finish line in an artistic way.
MASA: Can you tell us about a campaign where your music demonstrably contributed to its success?
JENNIE: During the pandemic, since no musicians could tour - we were tasked with promoting a new platform that would allow musicians to teach online workshops to supplement their income. The Trombone Shorty Foundation partnered with the Jazz and Heritage Foundation and we helped create an arrangement for Allen Toussaint's "Everything I Do Gonna Be Funky (From Now On)" as a second line / brass band arrangement to promote this online platform. During the first year, it raised over a million dollars! It also ended up winning a Silver Clio for "Best Arrangement" and "Best in Show" for the AMP awards.
MASA: Amazing. And has there been a campaign where the music brief was particularly challenging? Can you tell us the details and how the music ultimately helped elevate the ad's impact despite the initial obstacles?
JENNIE: Working in tandem with Ridley Scott's "DAY IN A LIFE: 2020", while Youtube Shorts was putting out the trailer, was an incredibly successful project. The premise of the film was (in the middle of pandemic 2020) to send video cameras to people all over the world: all different ages, races, backgrounds, times in their life and BOOM, start shooting at the exact time everywhere.
My goal was to lean into the concept that we find an unexpected pairing of two artists/bands and help them tell the story - we may seem different, but actually, we're all living this crazy life together and incredibly connected. In some ways, the pandemic made it easier to have access to so many amazing options as musicians, but in another way - very difficult to RECORD them performing this piece based on the dangers of COVID-19. I sought out 100s of pairings and in the end Black Pumas and Lucius were the perfect pair. They covered "Strangers" by The Kinks, and one of the composers I worked with at the time, Ben Marshall, then created an arrangement to fit the cover into the trailer perfectly. It ended up being one of the most beautiful projects I've worked on to-date. You could hear these artists' struggles in the song, Eric Burton being a black man in the midst of George Floyd protests, Holly Laessig a few months away from giving birth, and so on.
At the end of the day, the trailer premiered at the Superbowl in 2021, this film has garnered almost 20 million views, Holly ended up getting healthcare to deliver her baby during Covid from this performance and I ended up winning a Clio for "Best Use of Music in a Film" for this. Incredibly proud. Will always be one of my favorite endeavors.
MASA: Wow, I can really see why. Next question… the ad world demands constant adaptation. How do you stay informed about evolving trends and new artists?
JENNIE: I stay on top of trends by constantly talking to people, subscribing to publications (AdWeek, Ad Age, Muse by Clio, Little Black Book, also mixed in with more data-driven sites, as well). I also love our sales reps CHAMPION's mail-outs that have a curated, concise list of what I need to know now listed weekly, it's priceless! I'd say overall, our industry likes to share and spread the news (it's our jobs!) and I usually know everything that's happening overall thanks to my talkative connections :)
MASA: You’ve got it all covered, for sure! And what music could we find on your favourite playlist??
JENNIE: Oh man, my playlist is constantly evolving based on the project I'm working on, the latest new music drop - even the weather! Right now, I'm making a Summer of Love playlist since I'm getting married - chock full of artists such as: Parcels, Chappell Roan, JD McPherson, Zach Bryan, Mulatu Astake, Casária Evora, Morgana, mixed with some Paw Paw Rod! In regards to classics, I'll always find myself coming back to: Bowie, Lucius, Sufjan Stevens, Phoebe Bridgers, David Byrne, Reggae, Go-Go and all the 90s hip hop you can find.
MASA: And lastly, what will you be looking for when judging? What makes a piece of work worthy of a Music+Sound Award?
JENNIE: I always wait and listen and watch for something that makes me do a double-take. Absorbing the talent with these awards is an experience like no other. I know that the winners selected will have created something that gives the viewer pause, and makes us all think about how we've been inspired, basking in the light of their creative endeavor. Can't wait!
MASA: We’re just so thrilled to have you onboard the jury. Thank you so much for chatting here and for giving your time to give back to the industry like this. Should be fun!
Check out Squeak E. Clean Studio’s site HERE
