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Loopfest NYC update

I had a nice long conversation with dt today (who very kindly
called me back when I was less hung over... memo to self, don't
forget to eat next time!)

1. diversity.

We need to make sure that we have as much diversity in the show
as possible so that we can showcase as a wide a range of looping
as we can -- and so that we can attract as wide a range of
audience as we can.

2. short sets.

We're, sob, probably going to have to have fairly short sets
because there are just so many people involved.  This will take
some fine logistical planning, too... I know that I rehearse
my setup and have all my cables color coded just to make
setups easy.

3. get a proper space.

No use fucking around with someone's garage in Brooklyn,
let's bust ahead and try to get the best space possible.

4. get a draw to headline.

Get someone who loops and also has an actual draw
to head the bill.

5. get corporate sponsors.

Even a little sponsorship would go a long way.
Traditionally, sponsorship pays for advertising costs:

6. advertise effectively

We need advertising and we don't want to spend
tons of money.  We should pick targets that
might be interested in loopy music, like:

   universities (fliers and posters), esp. NYU which is right there.
   music stores, rehearsal studios and places where musicians go.
   head shops -- if Giuliani hasn't closed them all down yet.
   comic book shops (or is the audience too young?)

7. we need a name

We can't call it Looper's Delight

So we need a name.  Nothing has jumped out yet.

dt had an idea so dreadful I can't put it on paper
(well, I don't remember the exact name is the truth,
but it was about regurgitation...)

looplooplooplooploop is my best try so far.
it's quite euphonious if you say it out loud.

it's my best try because it shouldn't be funny
and it also shouldn't be pretentious and all
the other ideas I've had are both.

other ideas solicited.

8. split the profits

We should split the take evenly after expenses.
It could be that there will be more expenses
than profits... better make a tight budget.

9. tape it all

I believe we should get a DAT tape of the whole thing.
I always bring a DAT machine anyway hooked right to
the output of my digital board... so we can get anything
that's not going right to the house mix that way
by just running a line to/through the board.

If we do get somewhere with this, we can knock out
a limited edition CD of it, just for own amusement
if nothing else.  (My personal goal this year is to
release a lot of very short run CDs, 100 or 200 copies
only -- you can get them done in the $5/each range --
number them uniquely and try to sell them to collectors
at a reasonable price...)

10. division of labour

We'll all do everything in some sense but I'll handle
the logistics and make sure that nothing falls on the
floor, dt will talk to the correct people we hope,
and we can all wander around with fliers and posters.

Appendix:  on the audience

I believe that our "natural" audience is a group of older males
who already like things like progressive rock, space rock,
"serious electronic music", "twentieth century music" (now
what do we call THAT now we've left that century?) and that
sort of thing.

I also believe we'll die in the water if we rely on these
people to support our work, though we should certainly reach
out to them.

I think we should pull out all the stops and try to get
all those OTHER people, younger people, women, people
who don't necessarily care about weird music.

If we can get them, us geeks will show up automatically

Coda:  for your consideration.


.......all legal games of chess 
.....programmer's documentation