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Showing most liked content since 01/25/2018 in Posts

  1. 17 points
    Huge shout out to Melissa "Mely" Salguerro for being awarded the Grammy Educator of the Year! She looked great last night in her black evening gown sitting next to James Corden.....just as great as she did when she wore the uniform of the Boston Crusaders where she played mellophone. Eat'em Up, Mely!!!
  2. 11 points
    Super proud of the work our members are doing to recruit new people to join Pioneer this year. Here is some insight into our original goals, and just how our students are rising to the occasion to achieve them and push to new heights! Trumpets: Minimum 18 (94.4% achieved at 17) Maximum 24 (70.8% achieved at 17) Mellophones: Minimum 14 (114% achieved at 16) Maximum 16 (100% achieved at 16) Euphoniums: Minimum 18 (72.2% achieved at 13) Maximum 24 (54.2% achieved at 13) Tubas: Minimum 10 (90% achieved at 9) Maximum 16 (56.3% achieved at 9) ____________________________________________________________ Total Hornline: 2017 Total: 28 2018 Minimum: 60 (91.6% achieved at 55) 2018 Maximum 80 (68.7% achieved at 55) _____________________________________________________________ TRUMPETS, BARITONE/EUPHONIUMS, and TUBAS! If you are still looking for a place to march this year, consider joining Pioneer as we march the largest hornline in corps history! We'd love to help you reach your goals. #GrowPio
  3. 10 points
    I'm not going to re-litigate this, but anyone who thinks that the staff people who went to BAC were motivated only by money are simply whistling past the graveyard. It is disingenuous to suggest that all is well in Allentown. And for the record, the design team at Boston who masterminded the 2017 production will confirm the fact that the BAC Exec Director didn't change a note, alter a drill move, or add a single prop to the show. He hired a team and let them do what they know how to do. Interesting concept.....
  4. 10 points
    1981 Madison Scouts. We were undefeated until we saw 27th Lancers about 5 weeks into the season. We shocked everyone, including ourselves when we won DCI Midwest finals in Whitewater, WI. Warhawk stadium went absolutely berserk when Blue Devils were announced in 2nd place. Every top drum corps was in this show, which will always be my single most favorite contest that I marched. This is the Madison show that is on the DCI Championship CD's because DCI finals in Montreal was not televised. We beat the eventual champion SCV in either our last or 2nd to last show before DCI Finals, I believe by more than 1 point. We went into Montreal championship week with a good shot to win it all. but fell short finishing in 3rd place. Fun fact... I can still play the entire Snare Drum book. I'll never forget it.
  5. 9 points
    Maybe it's you? I have been a drum corps fan since the 70s. I've been to every DCI since 1990. I don't remember a time when people weren't complaining about the Cadets' design choices. Pick your problem. Props? Voice? Pop music? Obscure music? Add to your list too many gimmicks, too literal and too cerebral. The situation the past eight years was no different than the eight before that and all the eights before. Maybe yo'u're cheering for the wrong team? I know a long-time drum corps fan - a BD fan - who for a lot of reasons only made it to one show in 2016: Finals. His favorite of the 12 from two years ago? Stoned. Statues. Awakening. Cadets. He's a sophisticated fan, someone who's been to dozens of DCI finals, Allentown and others. And not a Cadets fan. So why did he pick Cadets 2016? I've thought a lot about that. And the answer I think is he wasn't part of the endless, breathless discussion that summer. He didn't see the developing program dissected down to the last detail. All he saw was what the Cadets put on the field. He credited all they accomplished and only what he saw that night. Different from here and the judges sheets, he didn't attempt to reconcile what he saw and heard against criteria assembled by themselves and others in the weeks before. I don't like every design choice the Cadets have made. I do recognize, however, the Cadets aren't unique in that respect. There have been lots of bad design choice along with some good ones across the spectrum of corps. We just never cut the Cadets a break around here. HH
  6. 8 points
    Sir you must remove this post. Common sense is not allowed in online drum corps discussions
  7. 8 points
    Sorry, but if you only ever post negative comments on EVERYTHING...you don't get to make out like you're the victim after you're called out on it. Constructive criticism with a reasonable tone is fine. But if you're going to be negative all the time, maybe keep it to yourself. It gets old and predictable. This applies to every corps and every thread. Anyways, if you heard Cadets brass at camp, it was obvious they have an improved sound compared to 2017. And that's not surprising given they have 40-50 vets. And it's silly to say all horn lines sound good standing still. Are you saying you can't tell the difference between standing in front of a Crown horn arc and another corps? C'mon.
  8. 7 points
    When we work together, as a team, we can do something like this:
  9. 7 points
  10. 7 points
    I hear that. Until that recent post on this thread, I've never heard anyone describe Gino as a "weak link" on any staff he's ever been on. LOL. IMO, he is one of the two or three top brass teachers in the business, and has been for many years, with several corps in DCI and DCA. Any corps would be fortunate to have him on board.
  11. 7 points
    The music stands on its own. Unique because I’ve never heard it played by any other corps ever. The brass has a quality that is Similar to Cadets 2015 but with a Crown big full sound. Percussion is off the chain with a lot of ensemble difficulty and the front ensemble is amazing. Really it’s all medal quality. Have to see where it goes from here.
  12. 7 points
    When you are in charge, you are in charge. You get credit for the successes. You take blame for the failures. And that's the way it should be. To blame your problems on your staff is small. It's what politicians do. Jeff Ream is right. Everybody knows who is in charge. That's where the buck stops.
  13. 7 points
    Enjoyed Cadets camp today. I must say, the improvement in the brass line over last year is remarkable. This line can part your hair...a lot of focus on power. And the book is way more interesting than last year. Drew Shanefield is doing great stuff...he wrote a great book. Really happy with the Cadets right now. I believe this is the best foundation the corps has had to build on for several years. Today was the debut of the vocals at ensemble. Very surprised that I was impressed...not a big fan of vocals in drum corps. The singers are extremely talented and the vocal arrangements seem way better than previous attemps. The Cadets should go into spring training with a really solid product. What happens when they put the show on the field is the real test. We shall see how it turns out. Hopefully, the design staff won't shoot themselves in the foot again this sason...please!
  14. 7 points
    The costume is fine, but the artist clearly is unaware we lead off on the RIGHT leg!
  15. 7 points
    that's been the issue for 30 some years now. Some can't separate the kids from the leadership. So if you blast the leadership you're hurting the kids in their eyes. Given the leadership makes the corps all about him, it's easy to see why many people dislike him/the organization. So like many, Jim, myself and other may not like the leadership, but will help the kids. I've donated to several MM's over the years, even if i wasn't a fan of the leadership.
  16. 7 points
    We already know your opinion on everything concerning Cadets
  17. 7 points
  18. 6 points
    I want to thank the Boston Crusaders for allowing us to be there today. It was a pleasure. Such a wealth of talent is a joy to witness.
  19. 6 points
    Hung out with Brasso and his friend at camp today and the staff has definitely written a book to be considered a medal contender. Strong Boston Strong.
  20. 6 points
    it's February. who knows where it'll go. Plus here's the thing...the days of Cadets/Cavies/BD then everyone else is over. Crown and Bloo entered the fray, Boston is making moves, SCV is back in the game....the competition at the top has never been better.
  21. 6 points
    Did they recruit Slender Man?
  22. 6 points
    I marched the first three years of Spirit of Atlanta, but my favorite year was our second year, 1978. We had finished in 23rd place at 1977 finals in Denver, so no one was expecting much out of our sophomore effort, despite having a lot of returnees from a year of almost all rookies. Jim Ott began telling us in the spring of 1978 that we had something special, but his words really didn't click with us until we got to the second show of tour, in Cedarburg, Wisc. That night, the crowd was electric, and we began to feed off the crowd's reaction to our still very-new corps from the South. The audience shot to their feet when we hit the company front in Let It Be Me, and remained standing for the rest of the show. It was pretty much like that the rest of the season, which was so much fun because NO one was expecting the sound that Jim Ott coaxed from us. We ended up the year in 6th place, missing the high horns trophy (which would later be named for Jim) by a mere .05. Not too shabby considering that only two of the horn players had ever even held a bugle before our first rehearsal for the previous season.
  23. 6 points
    DCI should have a show announcement day, similar to when the top High School Football player announce what College they will attend. As a business and marketing guy, rather than announce at the last minute, I would want the most time possible to promote my upcoming product.
  24. 6 points
    I always love when people I've purposely ignored choose to comment on what I've said as if I'm gonna change what I said. We've had enough hype posts in the past 7(?) years that I am entitled to feel the way I do just as those are entitled to feel the way they do.
  25. 6 points
    Which is going to play Maria, and which is going to play Tony ?
  26. 6 points
    Does anyone in Hollywood have an original idea?
  27. 5 points
    *me sitting under the Sorting Shako* "not Cadets, not Cadets, not Cadets"
  28. 5 points
    I think there's pretty much nothing to see here. "Synergy" is simply as described above...putting the pieces together where the final product comes together in a big way. The use of the word is nothing more or less than the evolution of the vernacular. I attend marching band critiques every fall where the judges (most of whom are DCI judges) use words like "vertical linears" instead of "files"....and we have "Visual Performance" judges, not "M&M" judges. :) Nothing sinister coming out of Boston. Yet.
  29. 5 points
  30. 5 points
    I know the members felt honored to have you all! As a parent, I love hearing the report!! What an exciting year!
  31. 5 points
    We were there for ensemble. Emotional and powerful. Captures you from the very beginning and keeps coming at you.
  32. 5 points
    Guess now I have to. I wonder who my favorite corps is right now. LOL This list could change pretty much every hour, I have a lot of recent shows on there, and that's more due to the fact they're the shows I've followed, watched develop, and saw live. They're the shows I connect with, I am not ignorant of the great history of the activity I promise, just my generation I guess. I threw this together pretty quickly too so I'm almost sure I'm forgetting someone very important here. After the top two you could probably shuffle them and I wouldn't care about the order. 2015 Bluecoats on first viewing is probably the most shell shocked a show has ever left me, and that's why I'll put it on top. It felt like I was watching and listening to something I had never seen before. 2013 sewed the seeds, 2014 asserted themselves, and 2016 perfected what they've done as of late but IMO 2015 is the show that really made them who they currently are in terms of how they approach sound. Love all the music, the two minutes before the ballad are probably my favorite two minutes of drum corps ever and the whole show is just absolutely electric when I watch it. 2010 Blue Stars is the first good drum corps I saw in competition and was honestly a checklist of everything I love in a show; great and emotionally captivating theme, incredibly aggressive music, dark and loud brass, amazing percussion, and a pretty exhausting to watch visual program. This show is why I'm excited to see what they do every year. 2014 Bluecoats of course had the pitch bend but it was so much more than that to me. After some pretty complex shows being near the top it was refreshing to see a very simple concept executed so masterfully on so many levels in a way that was incredibly appealing. Amazing ballad that has gotten beaten to death in recent years, but back then it was so refreshing to hear someone just let a piece of music be what it is again and let the show breathe. And yes the ending is amazing. 2016 Bluecoats was a culmination of elements performed at a level that I had never seen before. Seeing those uniforms run out from behind the prop at the tour premier the first time was INCREDIBLY shocking, but holy hell it was exciting. The usage and integration level of the props was absolutely masterful, and they packaged it all with an incredibly unrelenting and just absolutely bombastic musical program that never ever ever let up in any regard. This show was like a rock concert in Denton for me, it was overwhelming in the absolute best of ways. It might be my "least" favorite of their recent medal run but it is still a show I absolutely adore. 1993 Star of Indiana is a cliche, but just getting rid of all the reasons people argue it's legendary I just love what it is. I love how they used space as well as silence and let the brass have incredibly variety in style and volume. The percussion is fantastic as a supporting voice and amazing and sparingly featured. The guard is pretty starkly simple but adds so much. And of course the closer is just straight up run and gun awesomeness. 2017 Boston Crusaders I had the pleasure of seeing twice and that's easily the most fun I've had seeing a show live. They executed this thing about as well as they could have, they truly maxed it out. Incredibly well told story, fantastic staging, incredible clarity in the music package, and incredible performances from all sections catapulted this one pretty high on my list pretty fast. I lept on my feet soooooo fast when I saw this show at the end, it was just pure energy. 2014 Blue Knights is among the small list of shows that made me shed a tear, and where I feel like voice overs were absolutely integral and made a show just work on all levels. What an incredibly beautiful, well told, and heart wrenching story they wove on the field that year.......IMO perfectly capturing what that moment before you pass is like when your life flashes before your eyes. At that time this was their strongest effort in quite awhile and it was just an absolute treat to watch. Seeing that show in Denver is a highlight of my live shows thus far for sure. 2017 Blue Devils started off as a show I did not like. At all. In any way shape or form. And then the Atlanta week happened where they really started to refine and add small details that brought it together into a show I have just fallen head over heals for. As a tribute to who they were, are, and will become it was just masterfully put together and really pulled at my heart during finals week. This show has probably turned me into a full fledged Blue Devils fan. 2015 Blue Knights IMO is the freshest musical program to grace the field as of late, they threw any kind of formulas or ways of doing things completely out the window and created a seamless, ethereal, and just stunning show. This is also when Mike Jackson's absolutely surreal percussion writing really took its footing and I fell in love with his and that teams work. And their usage of color........just stunning. 2010 Bluecoats is what really made me fall in love with them after they gave me my first live drum corps experience in 2009. I love shows that are dark and angry sounding and are all up in your face for twelve minutes. This show is that to a T. I do realize the synth bass gets nasty in this one but in a time when everyone was still figuring out the electronics menace they were hardly the only ones. 2011 The Academy is another show that was like a checklist for my personal enjoyment. Above all else I freaking love listening to this show. Every part of the show is incredibly exciting to listen to, and their brass and ESPECIALLY percussion were so hot that year. Loved the Hinshaw drill and the bonkers color usage in the guard as well. This is just straight up good drum corps. 1996 Phantom Regiment easily has one of my all time favorite openers in the 4th Ballet Suite, and the climax with the lone guard member spinning that oh so simple red silk sends chills down my spine every time. The whole show is just emotionally satisfying and brings to life the music of a composer whose life was filled with so much turmoil and aggression in Russia during that time. I think they captured the pure essence of what Shostakovitch is. 2016 The Academy is about the most fun I've had following a corps journey through a season. When I saw this show preseason on youtube I knew it would be special, but I had no idea it was going to end the way it did. The whole of finals night watching that online was so so so special, I can't imagine what that was like live making history. But above all that......what a show. Simple and masterfully executed storyline, amazing musical and visual moments throughout, their best performances ever in pretty much every caption and subcaption, and that closer.......it was a fairytale season for them. 2014 Blue Devils is a show that works on so many levels, it's a simple film show if you want to stop there but it's also so much more if you keep on digging. The ballad and closer blow me away every time I watch this one, and their level of performance that year was just never going to be caught. It was awe inducing to watch them that season. 1998 Glassmen has always been a show I loved for the simple fact it's just fantastic music and drill performed amazingly well. I love Borodin, I LOVE their percussion that year, and the Jamey Thompson visual program is just a treat to watch. Not much else to say than it's just the essence of what I like about drum corps. Honorable mention to the 1997 and 2016 Santa Clara Vanguard.
  33. 5 points
    Their new Independent World guard made their competitive premier today at WGI Indianapolis, a strong 3rd in prelims behind two contenders. . Super fun show, just like anything I expect out of that organization. They should have a great inaugural season.
  34. 5 points
    actually money wasn't an overall determining factor. Just because one guy held it together doesn't mean things change. For one of them, it also took away day job responsibilities, so did they really come out ahead financially? Sometimes, a team that has success has issues that pop up that keep the success from continuing. Could the money have been the icing on the cake? Possibly. But knowing the character of those involved, just assigning the blame solely on money is as ill informed as you claim it is to solely blame everything on George. In fact.....if it's such a great place to work, why is YEA turnover so high? I mean Justin was set up to be the heir apparent. Think he uprooted the family to Concord solely for money? He aint making that much. I once left a job because the workplace environment that had once been great sucked after a while. Luckily my services allowed me to get more money at the new gig, but if the old place had continued to run as it was, I never would have left.
  35. 5 points
    A return to big drill moves. It's taken me several years to realize that Visual is now more about rifles than cross throughs. Totally missing Phantom's block merges, Cadets' intricate reshapes, Cavies' geometric wizardry, and SCV's war-like maneuvers accompanying their thunderous brass.
  36. 5 points
    I would like to see the finishing order more topsy turvy throughout the season
  37. 5 points
  38. 5 points
    I want the Cadets to wow people again...don't care about their placement. And I want to see the return of head gear. The lack of head gear looks sloppy and takes away from the visual effect.
  39. 5 points
    I'd have to say, more restraint on electronic Bass. That fake bottom level really destroys the experience for me.
  40. 5 points
    Brian, yes they are! Thanks for your support! I will post pictures and a video from the March camp/Chicago Irish parade!
  41. 5 points
    I used to be a donor and helped some kids march. Jim drove for them for a couple years and pushed props around here in the Midwest when we were at shows. Whatever we did, we did for the members. Never once, did I think it was about me. Harming the organization? That seems a bit dramatic. I doubt we carry that big of a stick in the grand scheme of things. If The Cadets are harmed, it will be an implosion kind of harm.
  42. 5 points
    Welp I think this year they will either bounce back and find a modern groove, or fade into the vast number of corps that are kinda generic, make “okay” shows and chase trends
  43. 5 points
    sorry to dredge up an old thread....i try not to be that guy...but after talking to several people in Indy earlier this month, the issue IS on their radar. What will come of it, I can't say, but it is being discussed at multiple levels of the organization
  44. 5 points
    I also think ditching the Bernstein deal was for the best. Too many restrictions in having to get music arrangements approved. The music I heard at camp sounded more drum corps-esque, which should appeal to a wider audience
  45. 5 points
    I'll bring the thread back to the Cadets by appending my previous statement that Cadets have over 50 per cent vets in the 2018 hornline by adding that last year there were a very large number of age-outs and rook-outs August 2017. (how another corps used vocalists should be discussed on that corps'' thread.)
  46. 5 points
    In the hands of Steven Spielberg any movie can be great, but some films should be left alone. I would say leave "West Side Story" alone.
  47. 4 points
    Bluecoats' 2017 production, Jagged Line, has met with quite a bit of controversy. "It the same thing as last year!" "There's no theme!" "Dancing is dumb, why would anyone do it?" Well, these are all completely valid concerns, so I decided to dive into the Jagged Line and try and figure out what the show is actually about. What I found shocked me, and may shock you. In an unprecedented move, the 2017 Bluecoats design team actually had the cajones to do a show of commentary on drum corps itself, both acknolwedging its past, and looking toward its future. Hear me out. The very first thing we hear when the show begin is a sample of the "Prelude" from Thank You Scientist's album Maps of Non-Existent Places; the lyrics are "Leaving without a trace / Don't know when I'll be back again". That is, we are starting from a place of familiarity (the paradigm of drum corps until now) and moving into uncharted territory (innovation in design). As the full brass choir comes in, we are given a final sample of "Leaving...", signaling our departure from where we "are" and the start of our journey into "where we will go". As the percussion enters, the brass ensemble struts out from under the prop and performs a choreographed dance program. Some say that this is simply recycled from last year's program; in actuality, it is the beginnings of an examination into the "past", beginning with just one season prior. In fact, this is our first hint into the theme of the Jagged Line in general: the Jagged Line represents the schism of past and future. If you don't see it, simply look at a timeline that has been abbreviated: Things that happen on the left of the prop represent the "old", and things that happen on the right represent the "new". This is a recurring theme that will show up later. But what does it mean when the corps is on the prop itself? Back to the show: The very first impact of the show takes place with the entire corps on the prop. Is this just a visual decision in order to emphasize the Jagged Line visual theme? Or is it more? When you think back to the left/right of the prop design from earlier, the answer becomes clear: when the corps is on the prop, it represents the marriage of old and new; the intersection of tradition and innovation in the present. Thus, the initial impact is a statement that while this show is going to examine both past and future, it is going to do so from the perspective of unifying them. Immediately after the opening chords, the high brass marches down the ramp and veers straight off into the "past" side of the prop. What does their drill do? They make rectangles and do box rotations, classic drill characteristics of the 2000s decade. When the low brass on the right side of the prop joins the high brass in the standstill with body movement, the form is disinctly reminiscent of 2000 Cavaliers, and the footwork reminiscent of 2010-era Crown; when they break into individual movements, it's a taste of "breaking down" the form and movements from unity into elements; a "deconstruction", if you will. What's interesting about the next phrase of drill is that while the horns start off facing backfield, they quickly turn to face right; facing the "future". The battery drill seems to lead them to want to go to the "past", but they reverse their direction and follow the horns. Meanwhile, the guard is gathering in the "past", and using traditional guard equipment such as flags and rifles, both things that are becoming more and more scarce in modern guard design. After the impact, the quad feature; a standard of drum corps designs both old and new. This one combined both style, utilizing both modern rhythmic and melodic vocabulary (in the feature proper) and traditional, less active writing (in the ostinato). Note also that this feature is in 7/4, and then moves to 4/4; even while the written material moves from traditional to modern, the time signature moves from modern to traditional, ending on the same spock roll that was so lauded in 2015. The tubas being on the prop is the glue that ties the next section together; a truly brilliant marriage of old and new. The low brass on the right side of the prop are playing very modern, pointed rhythms, almost percussive; when the high brass enters on the left side, they are in the very high register, reminiscent of 1980s Madison Scouts. The tubas on the prop privde the grounding that marry the past screaming and the future minimalism together. This is emphasized even more when the brass snakes through the prop, literally jumping between eras as they bring their statement to a final close. Now, the ballad. Much talked-about, very controversial. First, observe that the brass and guard spend the entire movement in the "past" side of the prop. This does not necessarily mean that the ballad is meant to be a representation of the past; rather, it is an examination of the past and what made the past great. The soloist stands on the prop, again signaling that the past will be viewed through the lens of the present. There is a very clear demarcation during the ballad; the curvilinear where the brass puts their horns down. To me, this is intensely reminiscent of the visual theme of the Bluecoats 2015 show, Kinetic Noise, except inverted; where before, the frantic action taking place during the baritone solo was above the curve, where here it is below. Note that as players "escape" from the hectic choreography inside the curve, their movements "calm down"; they become pensive as they reflect on the past. As the brass choir comes to a cadence, we expect a huge hit, but no. The brass begins marching away from us, as if to say that our expectations are outdated, and we cannot cling to the past. To emphasize this, they literally turn around, gazing one last time into the venerated altar of history as they play their beautiful chorale, which, again in defiance of our expectations, gets played back to us loud and clear, a foreshadowing of the integration of old (brass) and new (electronics). On the final chord, they turn back to the front, allowing us for one last time to luxuriate in the lushness of the traditional chorale ending of ballads old. However, even as this is happening, the battery, under the prop instead of over it, beckons us toward the present (the prop), to grow till tall, heard but not seen as if to represent the irresistable pull of idiomatic evolution. I haven't spoken much about the front ensemble yet, because there hasn't been too much to say about them so far. However, note that for the percussion break, the marimbas (the featured instrument in the original One Study, One Summary) are pushed forward; this may seem odd in the context of their setup, but realize that where the marimbas have pushed to is actually where the marimbas would normally be in a traditional front ensemble setup (at least in terms of front-to-back). This is a small way to ease the transition into the very, very modern percussion break; our attention is drawn to the snares on the prop, who start as a solo but build into a full section, representing more and more people wrenching away from the past and back to the present. During the snare feature, notice the shapes that the hornline make with their drill; they are arrows, first pointing right, to the future, then for a moment heading back left, toward the past, before resolutely heading into the prop (the present), simultaneously "pushing" the guard into the future. Note that the guard equipment has changed from the traditional flag and rifle into a newer implement: a cane. As the percussion breaks down their groove, the hornline and guardline are integrated into a very, very modern dance choreography, in some ways reminiscent of the choreography from earlier but also different. At the climax of the percussion break, the hornline has formed a literal line through the prop; this is the timeline that got slashed in the image above. Note that most of the timeline is on the right side of the prop; we are nearly finished with the past, but the future has much to explore. The Zappa piece, Zomby Woof, takes place exclusively on the right side of the prop, much like the ballad took place exclusively on the left. Canny observers will note the extensive similarities in visual design approach to the very recent developments of the Blue Devils, as well as the Bluecoats themselves in 2016. Musically, no more fitting word can be applied to Zappa in general than "weird"; when gazing into the immediate future of drum corps, that word applies aptly, and the strange fivelets that the trumpets (and piccolo trumpet solo) play reflect that perfectly. The Zappa is fun, it's energetic, and it's high energy, but it can be easy to be lost in all of that hype and energy, and lose sight of the history that got us to where we are. The quads show up just in time to remind us; two on the left of the prop, two on the right, and one up on top, they march down the field to remind us that we can't just have fun in the sun with our new design toys. Indeed, as the quads finish, the snares pick up, this time entirely on the left side of the prop, as if to emphasize that we cannot forget the past; the front ensemble has returned to the groove from earlier in the show, demonstrating even here a small look into ten minutes ago. As the final percussion break finishes, and the trumpet duet takes over, the hornline gives perhaps the best homage to old-school drum corps possible: symmetrical drill, and follow-the-leader. Even as we are hearing an incredibly modern usage of mic'd guitar patch over screaming trumpets, we see a throwback to the earliest visual designs of drum corps. However, right at the end, when the block consolidates, it is not symmetrical, but repeats the arrow from the drum break, pointing to the right. The message is clear: Even as we respect the past, we MUST stride toward the future. As the form unwinds and the low brass sprints down the ramp, we see this demonstrated as the symmetrical drill returns and the brass, now completely in front of all of the mic picks and therefore playing completely acoustically, marches into a double company front, while the guard behind them chaotically throws their flags to the winds, mounts the prop, and flings their hats, creating an explosion as old and new fuse to create the perfect marriage of style. ----------
  48. 4 points
    can i vote yes to all?
  49. 4 points
    This was the point I was half expecting to read, "...and she actually THREW it!"
  50. 4 points
    I saw that Tony Kushner is writing a new book for it, and I guess I"m okay with it? HOPING they keep most of the music and choreography the same. As long as it has a Tony and Maria ANYWHERE near as good as Larry Kert and Carol Lawrence, I'll be okay with it. The last Broadway revival had an awful Tony, and I've always felt that the dubbing for both Wood and Beymer in the film version made all of their scenes feel super plastic. You will not find a better blend of timbre and emotion than they had. This is still incredibly moving, old as it is:
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