Rarely are artists fairly paid for their cultural contributions. Too often the greatest innovators go unnoticed and uncompensated. Elvis Presley is one of the most notorious examples of an artist profiting astronomically from an art form largely pioneered by the poorest in society. This isn’t too say Elvis didn’t add to Rock n’ Roll, but his success far outweighed the arguably more integral contributions of it’s black originators. This illustrates an existential problem that has pervaded cultural art forms for as long as can be remembered.

In the 20th century, the prevalent music drifting into one’s ears was heavily dependent upon location. The city you lived in could strongly predict what genres of music you either created or consumed. These location based genre constraints were largely imposed by the technology of the time period. The dissemination and proliferation of records across city, state, or country lines were exceedingly limited due to the physicality required to interact with any one piece of music. Listeners and musicians alike only being exposed to music they could get their hands on in the immediate vicinity of their place of residency. This is what brought rise to sounds consigned to specific locations from which entire sociological subgenres stem; there were cultures, movements, and communities built entirely around local music scenes.

It’s that time of year again… Black History Month!!! To celebrate, we want to show some love to a few of our favorite black producers. At FLOPPY, we recognize most, if not all, of the music we love today wouldn’t exist without the contribution of black artists throughout history. So it’s only right for us to pay tribute in our own way.

In an age where meaning is becoming increasingly transient and technological advancements continue to spawn ever confounding ontological crises, as humans we are hard-pressed to find outlets that nurture genuine expression of any significance. Do we remain puritanical and stick with the vehicles of expression that we have been accustomed to all this time? Do we embrace these ever shifting sociotechnological paradigms and integrate them into our art forms? Would doing so compromise the integrity of our art? In many ways, sampling, its inception, and its evolution has faced these ontological conundrums. Similar quandaries are faced by pioneers in the Web3 space as well.

TL;DR: Floppy will be a free to play DAW/FPS fostering a community where artists, fans, and collectors alike can find a home together as co-creators.