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Re: What public is attracted by a Y2

George wrote:
"Zoe, I couldn't agree more. I like the idea of looping festivals etc., 
but were I to run one, I 
would not bill it as a looping festival. I would find some other theme, 
and then book 
appropriate looping artists. The whole looping tag would be a secondary 
detail, nothing      more. 
Something journalists    could write about."

Ahhh, George, but that's the rub:      I've booked successful festivals in 
World Music, 
Live Looping,  Experimental Music,  Found and Invented Sound,  Voice and 
Electronics,  Emerging Local Electronica, 
etc., etc.   and what I've discovered was that PRECISELY because I used 
the Live Looping angle and the fact that 
we, as a community had a great breadth of style and musical genre while, 
the whole time centering the festival 
on the concept of live looping got me VASTLY more publicity than if I 
eschewed that label.

I've never produced festivals that have achieved so much publicity 
compared to the relative draw of the concerts 
and most of that is down to me specifically pushing the live looping 
movement as a brand name.

Additionally,  there are a lot of people , me included,  who find the 
concept of a festival with many 
different styles of music being presented around a central metaphor vastly 
more intriguing and fun to watch than 
a specific  Singer/Songwriter Looping Festival or an Ambient Festival.

It is precisely because we HAVEN'T used tried and true , genre or style 
specific methods of advertising and billing that 
has allowed us to have successes in our local area with this concept.

Wanting to be on the cutting edge,  journalists and DJs alike have 
responded very positively to the 
branding of Live Looping.

Besides, these festivals have been, specifically  about looping.      If 
you want to learn more about it the techniques, philosphies, aesthetics 
and gear that modern digital Live Looping affords one,  there is no better 
place to go than the 
Y2K Looping Festivals.

Some of the world's most sophisticated artists who use live looping 
predominantly in their music 
tell me over and over that they learn something every single time they 

I've been looping in public (and identifying myself as a found sound/live 
looping artist) since 1995 
and every year I learn a lot by not only the top pros who use these modes 
of creativity but also from 
some of the beginning beginners who attend the festival.

I'd never gain that knowledge at a specifically style oriented festival 
that eschewed the title live looping.

In the long run,   of course,  it is the music that matters,   but 
frankly,  I personally get turned on 
when I see someone who is not only very creative, but also innovative in 
the ways that they used technology.

If that makes me a geek ,  so be it.     If that doesn't attract a large 
public audience who are not interested 
in such a thing,  great,    but we have wonderful audiences of lay people 
come to this festival too,   and I'm constantly 
gratified that when talking to them,  they always mention how much they've 
enjoyed it and how much they've learned.

What really turns me on, and this happens a hell of a lot,  is when they 
say,  I'm going to go out and 
buy a looping machine and get involved with this experssive technology 
because of what they've seen.

Hell, I know two people who MOVED to Santa Cruz specifically because they 
went to the festival and wanted to 
be in a place that supported such a concept.

So, I say,  more power to you if you want to create your own festival with 
looping artists and 
not mention the fact at all,  but you should really come check this 
festival out (and better yet,  perform at it) 
before you way in with your final opinion.

repectfully,  Rick Walker