> Date: Wed, 16 Dec 2009 16:31:04 -0800
> From: firstname.lastname@example.org
> To: Loopers-Delight@loopers-delight.com
> Subject: The Branding of Live Looping was: looping and the public and categ.......
> AG asked about branding:
> */" @Rick - Why did you or what was the reasoning
> for naming your Fest Y2K? I mean it's a cool name
> and all. But, to continue branding the LL thing, would it not be better
> to include the word
> in the title of your Fest?"
> /*Hi AG,
> I don't know how long you've been in the community, but if you've been
> on Loopers Delight for more than a
> few years you probably would have noticed all the posts I made about the
> Y2K9 INTERNATIONAL LIVE LOOPING FESTIVAL
> which is the official name of the looping festival. The first of
> this series of festivals was in
> 2001 but I started calling it the Y2K2 LIVE LOOPING FESTIVAL in 2002 and
> I believe
> added the INTERNATIONAL part of the moniker in 2003 as people from other
> countries started flying
> in to perform from other countries.
> Next years 10th anniversary and last very large festival for me will be
> called the
> Y2K-X 10th ANNIVERSARY INTERNATIONAL LIVE LOOPING FESTIVAL
> which is really a mouthful, but I want the nature of it (particularly
> the fact that we made it to 10 years with
> this festival) prominently in the first sentence of every press release.
> We decided for the website to shorten the festival name to
> www.Y2Kloopfest.com for ease of memory when giving the URL
> to someone but if you go to the website (have you ever been) it always
> clearly states what the name of the festival
> is each year.
> I have since day one, in point of fact since you mention branding,
> really pushed the notion and the actual branding of Live Looping.
> I've done so, specifically, because this community of musicians that has
> built up really do differ from the musicians (such as hip hop
> and other eletronica forms) who use static loops in their production
> and play them, pre-recorded in their performances.
> As a matter of course, I turn down artists who don't have a significant
> amount of live looping in their content each year (much to the chagrin
> of some artists who are dying for a gig).
> I've been a stickler for this 'branding' because it was the easiest way
> in my area to sell the idea to both the press, radio, venues and the public.
> It was brand new so I had to really work hard to get that particular
> branding out there. Now, I'm happy to say, it is completely accepted
> where I live
> (and the concept has spread to many different festivals that have
> occurred around the world since I started trying to promote this notion).
> I've been successfully involved in the promotion of several different
> musical movements in my long career as a professional musician
> and community organizer where I live. What I've found is that a
> brand has to be very simple and require the least
> amount of explanation in order for it to be accepted. It's always best
> whether selling a product or a notion of musical community, style or genre
> to include what you are doing in your brand. Working with people with
> no knowledge of something precludes you being able
> to reach them within one sentence I have found. LIVE LOOPING as a
> brand has worked well for me in this regard.
> That being said and done, we have a universal community and people
> have different social customs and languages in their communities.
> What works for me in my publicity or attempts to get this notion across
> to the populace in Santa Cruz which is a very hip and sophisticated
> town, musically speaking (hell, only 50,000 people and we've at various
> times had Universal Audio, EMU Systems, Antares, Cycling 74, Creative
> and many other innovative music companies located here) might not work,
> as Gareth pointed out, in Wales where he lives.
> Having the egalitarian approach to the festival also is a notion that is
> really accepted and favored where I live (close to the birthplace of the
> original Hippy movement in Northern California). I"ve found, in my
> travels and attempts at spreading this notion that a lot of Europeans
> just don't resonate with this concept very much..............or the ones
> that do seem to be in a minority from my limited experience.
> It's all good. It's good for me to do this festival in an
> idiosyncratic way. It's good for Matthias to try and get his
> livelooping.org and youtube live looping
> sites off the ground and promote the way he wants to. It's good for
> Sjaack to want a more exclusive and narrower stylistic focus for his
> Antwerp festival. Years ago, when I was more idealistic and
> aggressive about spreading the Live Looping vibe, I think I completely
> alienated one European promoter because I took him to task for not being
> more inclusive for the really fantastic festival he produced.
> I really regret that now, because I realize that one, I never wanted
> to alienate a fellow comrade in this work and two, because I realized
> that his
> festival really galvanized the larger European live looping community
> and set up , in time, all the wonderful coordinated activities that are
> beginning to happen
> in Belgium, Germany, Italy and the UK.
> It's all good. And quite, frankly, instead of spending so much time
> talking about all of this stuff,
> I would advise that everyone who feels passionately about it should get
> out and produce a regional live looping concert themselves
> and advertise it in WHATEVER way you want.
> The point is that we do something. As it was said in 'Field of
> Dreams',. the American magical baseball movie,
> "If you build it, they will come"
> So Check out the Y2K-X International Live Looping Festival. Check the
> website out. Check out the many videos on youtube and remember that
> Jim's touching tribute to the festival is
> only one of many over the years and most of them were more thorough
> single artist and shot in hi fidelity with hi fidelity sound.
> Hell, come perform at it. You'll be happy you did, I promise you.
> respectfully, Rick Walker
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