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ironlips last won the day on March 21 2016

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  1. Another snippet of Billy is on the "Brass by Night" Fleetwood album, with the Queensmen, wherein he plays an almost impossibly fast single stroke roll on the bass drum at the coda of "Exodus", the Color Presentation. It's reprised at the conclusion of the routine as well, only more so.
  2. It's great to see Billy recognized by the activity in which he began his performance career. Through the years he has maintained strong ties with the Drum Corps community and it is quite appropriate that he be honored for "Distinguished Professional Achievement". We used to joke that he had "marched with the Queensmen, the Sunrisers and Miles Davis". There is one little tick in the lead article: Billy did march as a flag while waiting for a drum spot, but that was in St. Catherine's. He was an exceptional drummer but, in those days of "3 & 3", a place only became available in a line like the Queensmen's when someone aged out. By the time he came to the Sunrisers, Billy was already a star player, and was instantly in the line. Also, to my knowledge, he only played snare in I & E, as he is left handed and wore that drum "backwards", sling over the left shoulder, leg rest on the right knee. The way he played, he'd have wailed if he were upside down, swinging from a trapeze.
  3. And here's to you, Ghost, and all your vet comrades. Frank D fellow Shellmer admirer and M-16 and Colt 45 qualified
  4. Well, thanks, Kevin. The musical concept was originally conceived by Don Angelica and Jim Prime. It was a great experience to work with those folks, Zingali, Sylvester, Denise Bonfiglio, Shirley Stratton, Tommy Lizotte, and the incomparable Mr. Poole, and the rest of that amazing staff. He really made the music come alive.
  5. As an instructor and arranger/composer, Charlie Poole is incomparable. I had the good fortune to work with him in 1986 when we taught the 27th Lancers. He made my charts sing, and has been in my personal "hall of fame" ever since. Congratulations, Chas!
  6. Marched: Sunrisers 1963-1973 Taught: LI Kingsmen, Medford Grenadiers, Kings Park Fire Department, Vianney Knights, Riptides, Lindenaires, Blue Hornets, 142nd Armored Division Army National Guard, Seaford Goldwen Hawks.
  7. The 1975 Bluegrass Nationals finals scores appear on Corpsreps under "Garfield Cadets". It was their first "national" title in over a decade and marked their resurgence as a potential contender on the big stage. They made DCI Finals for the first time that season, and eventually battled to the top over the next several years. That '75 show in Tennessee was a true turning point in the corps' history.
  8. TJ, Paul and Bruno all have devoted their extraordinary talents for the benefit of the activity for many years. I salute them.
  9. " the groundwork for modern arranging for the field. (Frank! Can you help me with that!? Am I nuts!?!?!?) " Neither you nor Grenadier are nuts. Someday, I suppose, someone will figure out how to reconcile fact with opinion. For the moment, one is entitled to one;s own opinions, not one's own facts, though lately there seems to be a drift in that direction. I would never presume to speak for anyone else, but will make the distinction between what moves me on a visceral level, and that which I appreciate analytically, or dare I say, intellectually. On the one hand, I am so very impressed by both the design and virtuosity of corps like Crown, Blue Devils and Bluecoats. They are the state of the art, without question. But when I drop the needle on the "Horns Aplenty" Fleetwood disc, The Cambridge Caballeros, Audubon, Patterson and Selden transport me to a world of being that is simply not describable in current terms. Words fail. It's all feeling, and no modern drum corps can go there in the same way. The Brits have a saying for the impossibility of comparing some things: "it's like soap and next Tuesday".
  10. It was '65. The VFW Nationals was to have been held at Soldier Field in Chicago, but rain had made the field a swamp so the show was moved indoors to Mc Cormick Place, a spacious barn-like building with enough floor space to do a full drill. There were 15 finalists and they all rocked the house. The Royal Airs were the only corps without contra basses, but Truman Crawford's arranging skill made that irrelevant. Incidentally, the audio is available from Fleetwood and belongs in any serious collection. The Royal Airs were great in '68, too, but I'm pretty certain it was the '65 corps GR referred to. 1968 belonged to the Kilties. They ran the table. See:
  11. I don't think the problem is finding photos. As before, it will be necessary that someone who can devote a little time to this obtain the secret codes for photo posting to DCP. Like Nanci, that individual will do all the posting, and moderate the thread. Any takers?
  12. There are 4 categories of regular membership: Brass, Percussion, Visual and Administrative. There are other ways, however. Stay tuned.
  13. Correct. The devil is in the details of mechanical and synchronization royalties.
  14. This is a discussion that needs to take place. And while we wait for an eventual resolution, hopefully in the near future, I'd point out that there is an enormous amount of music available in the Public Domain for which no licensing would be required. With some exceptions, everything composed before 1923 or so is now out of copyright, and that would include not just "popular" titles, but much of what we generally refer to as "classical" music. Arranging or synchronizing other more recent music "for free" may be a way off, but there's no shortage of familiar material available gratis. I won't be losing sleep over not hearing a lot of what's being produced today for a while longer. Besides, it's in everyone's interest to arrive at a reasonable, workable solution for that material anyway. That will happen. Stay tuned.
  15. I'm with Elphaba. SCV was a monumental game-changer. And, a few scant years later, in 1976, so were the Bridgemen and the Blue Devils. There have been some notable seismic shifts since, like whatever George Zingale touched, and a big one last year, 2016, when the Bluecoats took tech special effects into hyperspace. One thing for sure: the activity isn't through re-inventing itself, and not everyone will be thrilled about it. (OK. That's two things.)