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BigW last won the day on January 26 2015

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About BigW

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  1. I saw that 1994 show at Allentown. I can't and won't mince words about it. I cringed. It was painful. It was a very, very hard thing to watch for me. The one thing I did see that night was Bush, which I felt to that date was the best DCA show and corps ever. That show was a brilliantly thought out and designed effort, and they performed the bejeezus out of it, too.
  2. Been watching 1995 Westshore- 1: Reading the DCA scores from that season, seems the corps was running in the 4-5 slot most of the season then surged the last 2 weeks. This due to the show being as tough as it was musically for the brass or just to put everything together coherently? 2: Is that a young Stansfield on the sideline?
  3. JAG hung out with some of us at Westshore in our hotel room BITD in '79 for a big show weekend. Great guy, all about the activity. Really kind and very encouraging to us young guys.
  4. Just realized this, though- they can join an independent color guard or percussion ensemble. No wonder they're doing so well. Maybe someday, if things come together I'll get an independent all-age SoundSport/WGI Winds group together. Many serious people have told me I should, likely to see what will happen on the floor. I just need at least a dozen people who want to play exciting charts and have fun playing for people, and of course, the money.
  5. One of the main recruiting tools for a lot of DCA corps is exactly that . They get a few really good kids that way. "Would you like to be in an organization where you're with people who want to be there and their Mom and Dad don't make them as well as compete?"
  6. Was on here to see of anything was said about a corps friend that's had a massive heart attack and saw this. Been gathering my information on another thread I'm more or less not amused by- but also related. The answer as has been said, is money. Would I like to run an organization out of the Harrisburg Boys and Girls Club? Yes. I have a contact there who said the lady in charge would likely love it, too. But, it costs money. The lack of the Shekels killed off most of the corps that existed by around 1970, with a second big die-off in the mid-80's and a final die-off of the last of the small drum corps circuits around 1997-8. Societal issues also took their toll. There have been so many well-meaning attempts from various individuals or groups that have no infrastructure or real business plan that simply go under before they ever get anywhere since around 1990 that I know of that I've lost count. Well-meaning is nice but unless you can sustain a program and can financially support it, all that happens is that a lot of people end up disappointed and honked off at the well meaning but not really prepared people that didn't quite think things out well or assumed too much that are running the organization. I'm one of "those guys" unfortunately that could teach and get things set up in that way.... but don't ask me how to get money and how to fund things. That's where guys like Gary Matzack come in and make sure the corps is self-sustaining and not operating day to day. And yeah I'll get back to the whole being one of "those guys who wrecked the activity" when I have time, especially since on the other side... I'm one of "those guys who are musically illiterate dopes and don't know anything about the proper education of those sweet little children and just know how to honk on a bugle real loud". A lot of us corps people with Mus.Ed. Degrees (or not) get enough guff from the "education side" for being some caveman, even though I'm likely more educated or as educated than most of those clowns (Also have a Master's in Education). Not heartening to hear the same thing from this side. What's it gonna be, man? I "Won da Dream" (1982), I played on a Piston Rotor horn for 4 of the six years I marched, I own one I just had worked on along with a 3 valve Kanstul I used for 9ish years with Alumni... I got some street cred on the Corps side. Sheesh!!!
  7. As a Music Educator, I really don't like the smell of that old saw that "Them daggone Music Teachin' types wrecked the activity and no one likes it anymore!!!!" I went into the field largely because of my experiences in the marching Arts. Okay? I'll get into my thoughts on the subject later, but to be blunt... I really loathe and detest that insinuation.
  8. Regardless of period- the right Corps playing their best stuff does move me in a great way- doesn't matter what year. With yah on that Frank.
  9. My thought for the day: Spartacus had to be one badaxx dude. It took SIX Phantom Baritones to kill him. Now for work. Where we are ALL Spartacus, except for the supervision and management.
  10. There's a reason that the style of the brass playing was different. Ticks. You played differently back then to be tick-proof. The style corps played was also bent to that. Being a bit more musical, bending things, phrasing more subtly, etc. meant a lot more of a risk of a tick. The old horns also have a nasty bite to them. I played in a closed room with a Kanstul and my Ultratone and people could tell the difference between the two. Granted, everyone played on them, it was a more even playing field. I played on one of the Beta test System Blue horns last summer, and other than the utter fragility of the build of them- there's no real choice in terms of how they play so nicely in tune with a great, mature sound and respond at the drop of a hat as compared to the G horns. Believe me I know it's an arcane art and a challenge to play on a G horn and I enjoy that challenge. The problem is this-- you have a limited amount of time to train your horns, you have a fair amount of corps turnover ever year, and your competitor is playing on a horn that's easier to teach on and get a better sound out of that's more in tune... the last thing you want to do is compete with both hands tied behind your back. As for the glocks- funny you mentioned them, Scout House Alumni used them exclusively and when they used them in the 1960-1965 period pieces they did, they were fine. The big problem for them was beating the tar out of them with copper mallets to get them loud enough to reach the stands. My guess is that mallets were an innovation as well to give percussion more of a dimension and effect BITD. Again, someone looking for an edge and a way to beat everyone else. Maybe also in some instances, get another kid down the street who needed some shape and discipline in their lives on board. I think with some of the recent changes, the DCA show design people have been aware of their corps' brand and tradition and have tread very carefully. A lot of this reminds me of a conversation I had at DCI East prelims circa 1982-4... 33-35 years ago where someone complained about the Bridgemen, and I responded, "Strip away the Pimp hats and Raincoats, all the extra stuff on the field, and put that show out raw musically and visually. Is the drill well written? Say it... YES. Are the Horns and drums well played and are the arrangements really, really good? Uhhhhhuhhhh... the basic elements are THERE." So far, so good for DCA on those metrics, I think for the most part.
  11. Also makes sense. Certain things John wrote, I've been discovering had for a lack of better terms, "fiddly detailed things" from the original source material that might (More like LIKELY) be taken out by others. Listening to BD '82 for instance there are certain things here and there Downey took the croodles and bumps out of to clean things up in Chuck Corea that Westshore still has within their arrangement.
  12. Figured CT would stay A- right now the DCA website lists Tradition, the T-Birds, Chops, Excelsior, and the Southern Knights as the 5 right now. I have no clue if anyone from Open will move down. My guess is when the deadline hits, we'll officially know if anyone makes that decision. With the 5 right now, I figure the competition to be pretty intense. Any one of the 5 that think they can take a coffee break and assumes things are 'good enough'- will be a bit surprised, shocked, and disappointed when the rubber meets the road at a show.
  13. From his clip on his website, I think it is the original piece by Pendowski- how he got a copy... my guess is went to Towson and looked there since the piece is "permanently out of print" according to one publisher when I went looking. Nice Rafik Mankarios vid up of his band playing it as well. Another little nugget I found recently was a clip of the BBC Big Band with Lalo Schifrin, John Faddis, and Rafael Berroa with the band playing Schifrin's Latin jazz Suite at a German Jazz festival. Love the band, and the solo work. Was great to watch and listen to Berroa, I wasn't familiar with him until then, he's wonderfully sublime.
  14. Frank hit every nail on the head that I learned in a couple of excellent Music Marketing courses. The huge cash trough dried up in the recording industry. A lot of aspects got tossed out the window there to cut costs. The A and R end (the talent development end) has been largely cut to a nub of what it was- now, performers pretty much have to prove to a recording label they have done the ground work and can do x and y without their assistance. I've been saying that the various copyright holders would take something rather than nothing for some time here on DCP- Hopefully things will proceed towards that goal.