Dmlkmen

The 1991 DCI vignette I mentioned above, for reference:

The one question I love to talk about being a fan: “Which corps has the greatest drill and music demand this year?” Answer: “The corps that has a show where the drill is completely married to the music”. The vignette from the 1991 DCI PBS broadcast where Steve Brubaker talks about this very thing is drum corps gold to me. He and Mark Sylvester being interviewed as to how they designed The Cavaliers and Cadets 1990 and 1991 programs- Its vintage. Drill meeting music demand. Drill completely married to the music. This was Myron Roasander to me. Carrying on what Brubaker and Sylvester noted, and being just as much contemporary, masterful, and unique about it, as his fellow drill writers at the time. I appreciate Myron Rosander’s writing as it always uniquely recognizable. Myron’s collapsing files from geometric shapes can be instantly described as “ thats so Rosander”…..Just as there are unique forms from Saktig, Weber, and Gaines. Designers who took your tempos and mood of the arrangement of music being played and brilliantly made your corps, “ THE concept” in a such a creative and fascinating way. All of this said, my “memories” of Rosander and his drills: - 1999 SCV. The whole thing. Completely married drill from the start of The Canyon in the right end zone, to the collapsing files shapes in the Barber pieces later on in the show, to the final stand still park and blow of Blue Shades. This show is the most intense show I have ever seen live, largely because of the way the drill is written with the music from start to finish. - 2010 Phantom Regiment. Again, the whole thing. The entrance going into the stadium never sounded right in recordings. But seeing it live, especially during the turnaround hit on the Band of Brothers piece, is as emotional as the ending of the show is to me. The middle section of up tempo music and the collapsing files, (“thats so Rosander”) are completely married to the music. - 1998 SCV. The opener, Grogh. The part of that opener leading into where the corps hits the sustained note and the snare line goes into high sticking….I absolutely love how the corps goes into a circle, almost like a snake as the tension builds. When the music intensity builds and the brass hits the sustained note, the snare line is front and center to just absolutely accentuate that drum hit. Extremely effective and goosebumps everytime I see it,

More of an example when solving the crisis of the day for a community becomes less about developing zoning or speaking to developers, ( for example), and moreso about social media and Tik Tok issues. It is unfortunate the latter is never boring like deciding where to build new apartments pr shopping centers might be. Or perhaps AI regulation, or really any number of things that a public servant can say that actually helps a community. Or maybe not even say anything at all about. He can remain silent about the accomplishment, knowing he is being a humble public servant. I wish many elected reps knew more about the arts. Or maybe in this case, a chief of staff or aide that could advise them regarding the arts, to lump that together with support of education. Better still, they could simply ask the kids about their experience and the discipline they learned- as a promotion of how schools are working in the community. The job requires something that is actually more like PNC Banks’ motto, “ Quietly Boring”. It is unfortunate that Westfield had to deal with this. In light of it, I am glad the program has this spotlight with Crown and the Cavies. Perhaps, the show can note to the audience and as a sort of “ PSA” that supporting arts in education and creativity is what these programs do, in the light of sometimes adverse or difficult situations to which that education and creativity is challenged.

At World Championships a few years ago, I remember a Carolina Crown member hurt his leg severely while in performance. He got medical attention on the sideline, if I recall correctly, and it was nearly immediate. So perhaps there is immediate help at the ready, (maybe moreso in Indy then other shows). A show promoter here on DCP could probably better answer that question. I do know there is always a security or police presence on site baked into the cost to run any show. I don’t know if that cost includes an ambulance or EMS plan of action as well. Particularly, for example, a show that may be at a high school with 5 corps.

The Crossmens’ 1991 show had music from Pat Metheny’s album, Still Life (Talking). The album has Brazilian influence throughout, including Brazilian musician, Armando Marcals’ amazing work in vocals and percussion. The very first notes heard in the opener of the Crossmen show, ( Last Train Home), is the vocal part of that piece which features Armando Marcal. In Third Wind, the closer, you will also see and hear the influence. As for what I hope to see, if a corps decided to do a Brazilian themed show…. Not to long ago in Lances’ “ what corps should play” thread, I posted some pieces from Brasil 66 and solo pieces from Sergio Mendes. I mentioned Mas Que Nada, and a few other pieces from his early work with the group. Mas Que Nada could be a very fun piece to hear on the field, reminiscent to the Scout’s or Crossmen Latin themed shows from the 90’s. Sergio’s later work from his 1992 album, Brasiliero, would also be incredible to hear. Especially what could be done with the piece, Magalenha, on the field. Another album release from Sergio, Timeless, is a collaboration of artists from Hip Hop to Pop, interpreting his work. A show could could pull pieces that album as well, as it is very much a modern take on samba and other Brazilian influences. .

George Mason U. is my Alma Mater. (Kind of wish they had a competing drumline back when I was in school there. I would have joined!) They have been very entertaining the past few years, and have really liked their concepts.

I just watched the documentary Koshein about Japanese baseball on Netflix. It was interesting to see how the teams would align their gloves and shoes in a straight line, to show a form of discipline and unity among the team. Reminded me of the way we put our horns down and folded our uniform tops when warming up in the arc- same philosophy.

When the Cadets and Cavaliers had a thing going on to see who could outdo one another in visual demand, specifically in the last minute of drill in their shows. Gaines vs. Saktig 1998-2015.

I’ll agree with the prior post regarding Byrd ( University of Maryland) in 2000. I was in that upper level at Finals that year. The angle felt like the moment when you look down on a roller coaster as you are ready to go down the first hill. If one were to have tripped on the stairs going up and down on that level, absolute curtains. Game over.

Very Cool. I can imagine what that would have been like at the end. I got 87 vibes in the last few measures. Thanks for sharing.

Getting back to the OP’s original idea of the post- I think I know the band you are talking about. And without naming names, I too was a bit perplexed as to what the “ letters”, or whatever the prop was were trying to do. (Orlando Regional, BOA, if it is who you are referring to). I remember when Mike Cesario used to say on the DCI PBS broadcasts , “ Madison is the concept”. And honestly, there is probably an entire audience out there like me who is OK with drill demand and difficult horn books still hanging out at this DCI party. I have been wondering about the props too as being absolutely necessary. But I get why. Personally, it’s been a struggle to grasp some corps concepts since Bluecoats 2016 and BD 2014 changed the game. There are some shows from this past year that I had no idea what was happening or why certain items on the field were needed. Other shows, I “got” the message, ( if that is what it was supposed to do), but didn’t find them entertaining. That said, my favorite show of the past year was Crossmens’, “Crosswalking”. Concept was easy to understand. Music was grooving. The Aussie was back. Props, not many or none at all. One half of the 50 was used, and the other came in later on on the show. Color me entertained. Other shows like Mandarins, Phantom, and somewhat SCV, were shows I had a hard time understanding. Especially Mandarins, after really loving, ( and absolutely getting the concept), of what they did last year with the New Orleans theme. Cavies and their anniversary show 2 years ago, was marvelous. But this year, also scratching my head. Don’t get me wrong, I am not about to make that exit into dinoland off the expressway. But I am finding it harder to understand certain shows and am asking myself why corps needed to change clothes and prop it up. They were pretty #### cool to begin with. Influenced quite a lot of us with exactly who they were. I guess its just an an acquired taste. When the Cadets left us, it was perhaps more then just what they did with drill, speed, and movement (as we knew them), that left too….

For me, and forever shall be my favorite show - Star of Indiana 1990. I could give a video review with the same passion and excitement as these two gentlemen did with that show. The 1988 Blue Devils is close second for me for favorite of all time. The reasons for these two shows being my favorite: 1. The music / horn books. Exciting. Emotional. And allowing the brass to play, long and well developed pieces that are as technically challenging as they are melodic. 2. The hornline sound being magnificent. 3. Drill demand plus demand in hornbook. A staple of the late 80s and 90’s. Two qualities of shows I like that I still use today in judging what I like. There is also fact that 88 BD and 90 Star closely relate to the era I learned how to march and participated in both band and corps. Perhaps that is a main reason for a lot of us to why we have our “favorite show”. It was the show that “ got us into marching”, because of how impactful it was to our lives at the time. They were the shows that displayed the excitement for us. The one we always remember. Which is why I say to each their own to the reviewers in the video.While I didn’t like BD 2012, I thoroughly enjoyed their show from the year before my favorite of the 2010’s decade. And that was because of reasons 1 and 2 I mentioned above.

Arguably, the 86-93 era of the Blue Devils is the most entertaining era of the Blue Devils. They were always a fan favorite, and still progressed the activity in musicality, power, and other ways. Post 86 with Channel One and Chick Corea- 1988 and 1989 off the charts entertaining and classic tunes. 1990 with Tommy has gone on to be a show I have seen many a marching band and some corps imitate but not quite duplicate. 91 and 93 are considered some of the best brass books ever by the corps. And then 92, what can we say? When a man loves a Woman? In one of DCI’s most entertaining years, this one stood out. And lets not forget, many of those years they were contenders for the title. 1988 is still controversial to this day as to how they took 3rd. 1990 for a good part of the year they were undefeated. 1991, might have been one of their tougher years competitively, but brass kept them near the top. if I remember correctly, there was a bit of a shock at DCI East as to where they placed. I was in Allentown that year seeing a regional for the first time. Going into finals, there was some talk about them moving up in placement, which they did on Finals night. 1992, no matter where they placed- I think the sentiment among fans was one of this show being off the charts entertaining. “En Fuego”, I believe is what they were for most of the year. 1993 was the year I marched, so I don’t know the fan sentiments and thoughts about that show really well. I have kept a few Drum Corps World papers from that year as keepsakes. I should probably go through them and see what the reviews were from various shows to add comments. Personally, I remember seeing them in Jackson at Finals and saying to myself that this was the greatest horn line I have ever heard. In hindsight, of course, most will probably agree that hornbook was one of Downey’s best . Overall, 87-93 were still incredible years for the corps, and they were consistent fan favorites. They didn’t exactly have the best visual at the time, which is why they could be anywhere from 2nd to 5th. Star, Cavaliers, and Cadets were pushing that envelope with demanding visual and horn books, which we know are considered classic shows of the time. But, BD, proved in that era that you didn’t necessarily have to be champions to produce memorable and classic shows.

1. 1985 - The culmination of music and drill. 2. 1998 - Best drill I have ever seen 3. 1993 - Speed in marching and playing is vintage Cadets. The ballad in this show is arguably, the best ever put on the field. Show that did not win: Going to say a tie between 1988 and 2001. 1988 is a show that flies under the radar. Great arranging in this show of the Copland piece, as well as the best visual book from a drill standpoint, that year. 2001 had a phenomenal hornline playing a very demanding book. The Cavies had a visual package that year that still blows me away, in terms of how well it is executed with the music they are playing. BD from that year as well. But seeing and hearing what that Cadets were doing that year, I think they deserved a co championship or a victory.

There are three corps and two “things” that I have been happy to see this year, so far: Corps 1. The Crossmen embracing their identity and jazzing, ( and grooving), it up. - Admittedly, and frankly, there are some shows I simply do not understand and find a hard time embracing as entertaining this year. It may be a factor of me getting old, or, a factor of not fully understanding judging and “playing to their sheets”. But seeing the Crossmen, I can say, I get it. And that is refreshing for me. Regardless of where Crossmen place this year, they are entertaining me more and more each time I see them. Its the show I’ll probably listen to in the car or at work, post this season. I appreciate many things in this show. Mostly, the fact that it appears, looks, and sounds different, (possibly deliberately), in what other corps are doing. 2. Memphis Blues and Gold It’s been tough for me to see some Open Class corps that showed promise, leaving us the past few years. Louisiana Stars and Southwind come to mind. Losing corps that seem to have taken a steps forward each year in their growth, sound, and membership is hard for me to see. That said, seeing Gold perform as well as well as they have over the years, really is a pleasant surprise to see. I have enjoyed the music from Sweeney Todd, as well as their presentation of storytelling. Its something I can actually see and understand in a theme, which is something I can’t say of many corps this year. As for Memphis Blues- I got a lot of “87 Bluecoats vibes” from them. And thats a really good thing. The activity corps that upon first viewing, we both love and find entertaining. They came out swinging this year with a great sound and very entertaining book. Like 87 Bluecoats, I think a lot of people are taking notice of this corps and can get behind them as the years go on. 3. Troopers and Madison feeling like “Troopers and Madison” in a modern world. Things: 1. The return of hats in a uniform. Thank you Crossmen. 2. Taking risks in show design, (sans props). Thank you Crossmen, Vanguard, and in some respect, Boston Crusaders.