BigW

When the weight restrictions is off, I plan on getting that piston Rotor out and doing some playing and digging the Euphonium out of a friend's closet- I keep the good horn hidden at a friend's house right now. That's a story in and to itself. Too much wierdness here at this apartment house. The 321 is the only thing I'd really be upset about if it were stolen or blown up.

What's even more impressive with that list are how many BHoF people are in it. It's like a jazz band- you may have a fantastic solo chair or a feature, but your lead person/s is/are the workhorse(s) that keep(s) it rolling, and Sky had to have them to make that corps succeed. When I first watched them as a HS kid in '78 at a practice, it blew our minds how many of those guys could just pick up and play hard. Not just one or two, like... all of them! It's a bigger jump from Band to Corps than I really think some people truly realize in that aspect. It might not be as "big" a jump as BITD, but it's like saying flying across the Atlantic is shorter than the Pacific. They're both still oceans, man.

Been thinking a lot about you and Kris. My problems are really infinitesimal compared to hers- and even this little bit of an issue scared the living heck out of me. I know a lot of DCPers get the biggest fear I had when this all hit was if I'd be able to play again. To a lot of people who aren't musicians, that would seem silly but that was one of the biggest things on my mind in the ER if not the biggest. I'm happy to hear Kris is digging out- you know my Sister and I are always thinking of you both. I'll try and keep you laughing when I do the reviews. You'll have to tell me how the DCA Fan network sounds then.

Thank you, Ray. I consider myself fortunate to hear him at I and E and compete against him. I also thanked him for the great lesson he gave me in three minutes of playing. Ie was kind of amazed, but I learned MUCH in those three minutes listening and watching, and really learned I needed to free up my mind more when playing and ways how to do it from him. If I ever stop learning, I'm in big trouble. It possibly means I'm dead!

Thanks, Fran- Was really good to see yah with the Alumni again and just to hang out. I was drinking a lot of Starbuck's Espresso Doubleshots at work and before practice to get back to normal. I was just dragging a lot. If I hadn't lost all the weight, Lord knows how much more I'd be draggin! And the one compliment I can give to Dan is this- When you get older and crankier, you start to realize there are some people you respect enough in the activity that if you're screwing up and you know it, you just don't mind them giving you "heck", Dan is one of them.

Well, better late than never, and I apologize- this is the first time since Thanksgiving I've felt remotely good. More work hours, nursing a busted Gall Bladder through to Profiles in Brass, being tired because of it, then getting it yanked out- it's all been too many plates spinning all at once for me. I know folks out there understand about wanting to perform. It kept me going for several months. There's nothing better than performing. I figure finishing this up just before Wildwood might give some of the performers a bit of a boost. Also, make some of you laugh. For Upper Brass, I really had to think about this one. I realized that CV's upper brass section really did very well this year and were very under the radar. I'll take those people in a heartbeat. Now, to fill out this brass section, I'm going to go off the board a bit, since I was lucky to get to the I and E event. I'll throw in the Groovy Brass and the Freelancers Alumni and steal the Freelancers arranger for this corps as well. Put some old, cool heads in there to bolster the ranks. For the Guard, I'm dipping into Class A and taking the High Country Brass and Heartliner guards. Both were an essential part of their corps' performance and a major contributor to their finish. For percussion- hmmm... Fusion's battery in 2013 really matured and placed very well. Let's take their snares and tenors. Also, Empire's Basses. For the Front Ensemble, I'll take the Bucs. Why? I think it's a fair question. I really thought about this one. They really don't draw attention to themselves. being a Westshore Alumni, I know about Front Ensembles that catch attention and draw people into their scene. The Bucs aren't grabbing you, BUT-- the Bucs Front Ensemble enhanced and underpinned the overall musicality of their entire corps a lot more than would ever be obvious to someone listening casually. They do all of those little things exceptionally well, and never ask for attention while doing it. TASTY, VERY TASTY. Sideline guys: Let's grab Dick Pommerleau and Frank Ponzo for the high horn, the gentleman on Mello from Empire, and Ruben Amaro (Sky/Brassmen) on bari. Why Ponzo? Frank's **been** playing fantastically, but this year, he took the Ponzosphere to new levels. Drum majors: This year, I found the kind of people I was looking for. Maybe they found me. Last year, I did find the Cabs' Chris Fontanelle as the assistant, and he's back. It's just good to have that person you can count on in this role and never worry about. Since this a corps of the imagination and also for fun- I found three people that really were top notch for three different reasons. The Sun Devils' "JJ" is that one person you want conducting that's also not afraid to give the audience a wink and a knowing grin. He's also a fantstic conductor. Sometimes, you need a guy with a strong will to be excellent that's gonna look at you and ask if that's your A-game, and if it's not, you gotta find it and bring it. Someone you know is always digging into his well to bring it and lead by his example, someone who wills the corps to push itself. Dan Detwiler at CV is one of those guys. The last person is well known but not as a conductor. Donny Allen's a fantastic conductor of the Ghost Riders. Every nuance is there, his intent is clear, and he's spot on and readable. He also brings a lot of joy and enthusiasm to the podium. Geez, I'm starting to get beat again. All I know is that 2013 was a lot of fun for me as a DCA fan. I'm not sure how many shows I'll be at this Summer (Pencil me in for D-Town, Scranton and Reading, maybe a couple others), and I'm already disappointed I won't get to see everyone in DCA as I have the last 2 years. I'll say it again- there's a lot of good things happening, and I always feel a real affinity with the current competitors. There's far more that ties us together than drives us apart. I wish everyone setting foot on the field this Summer a lot of good health, good fortune, and good performance experiences. I'll see everyone out there, hook or by crook, and soon. And since I should be recovered fully by then and since the shows are a lot smaller, faster reviews. See you at the Stadium!

Well, Jim-- better late than never. I did what you asked and Paul G. laughed his can off. Said no one's called him "Weasel" for years. As for a review, the only corps I could watch was Cabs Alumni. A lot of new material, which was really, really solid for that point in the year. Percussion section was really 'up' for the night, and I think one of the two percussion features was new for this year. I really liked the Flugel in Echano, and I hope they keep it in there. A really nice touch and made for a really fine moment. Personally, I was thrilled to be there, happy to see a lot of people I'm fond of, that I was able to perform with and for many people I'm find of, and felt I didn't let the corps down.

Still recouperating at Parents. Feeling much better. Got all the news about Jerry Y. and Tom. Was very sad. Jerry was a hard worker and I always respected his efforts and talent. Back then the way drill was written we'd see a lot of the rifles in front of us doing their thing, and I can remember seeing Jerry on field BITD. Good memories. More work hours, combined with the health issues and making it though to the concert left me a lot more tired than I let on. My surgeon said my Gall Bladder was likely on its last legs when it came out, and was likely a cause for all the exhaustion. It was evidently so messed up the entire surgical team had a look at it cause it was pretty goofy. It's why I just dropped off of here until I got this all taken care of and recouperated. All I know is that from when I was laying in the ER over Thanksgiving, all I cared about was being there in April and doing what I needed to do to perform in terms of taking care of myself to make it. I was really feeling a lot of emotion that night that I'd made it, because I was pretty scared when all of this hit. Then i had to get the whole surgery thing dealt with, and was nervous about that. Just wanted to touch base here and then let everyone throw stuff at me when i finally finish that review. I was just too freakin' tired to do it from work and from the whole physical thing.

It would be my guess, though I haven't seen him for a long time. I fondly recall dining with him and his parents in the late '80's. All really great people. When I have time I should relate what Mita told me when she found out my DCA background, but I have to work. It still makes me laugh and smile many years later.

There is also something else to think about- when you drop ticket prices that low, you also diminish perceived value of the product. Can it be that good that they're only charging 5 bucks to see it? You really have to find the fine line between charging too much- and also not enough in that aspect.

Well, "from Parts Unknown" might add to the mystique.

Well.... There is one driver who would reluctantly make a comment about being the draw if you forced him to. Dale, Jr. I've seen the power of his fans first hand at Richmond, and his recent Twitter account phenomena was huge news in NASCAR. When Dale Jr. is winning, the ratings go way up. The sports media will talk about NASCAR more freely. However, NASCAR isn't driven by the teams. They do what they're told from the NASCAR executive level. They do get input but decisions are made from the top down, unlike DCI. For example, this latest chase restructuring- that wasn't some idea concocted and supported by the teams. Jimmie Johnson was called and told about it. Does he think it makes sense, not likely. Will he say anything publicly, No. It's obvious to me that the new format was designed to force him to win the final race if he wants another championship, and that the powers that be are so desperate to have anyone that is NOT Jimmie Johnson be the next champ- preferably Dale, Jr. though they wouldn't admit that publicly. F1 is a bit more like DCI- Ferrari is the 900 pound gorilla and what it thinks has way more weight than anyone else involved. They kind of have a G7 effect there with McLaren, Ferrari, Mercedes and Red Bull pretty much dominating everything and leaving the scraps for mostly everyone else.

Well, I will say this- shows used to be like the lists in the NE us. Usually some lower end corps mixed with top end finalists kind of thing. Looks like the combination show in Chester, PA will also have that sort of lineup. The problem is attending DCI shows in PA isn't what it used to be. Dance to YEA's dance and be a good marionette or don't go. Except for the Eastern Classic or the simulcast, you have no choices. It really would be nice to have some choice in the region as to go to shows I'd like to support but I don't see that as happening in any future I see. Thank the Lord I do have choices for DCA contests.

The sixth would be preferable to me in certain ways, but you won't get that lineup in this region. You'd get choice 4 crammed up your bohinti whether you'd like it or not. In fact 1, 4 and 7 would be the only options remotely available to fans in this region. The others wouldn't happen.

Neither. There are issues with me going to anything but the simulcast in this neck of the woods anyway. DCI Eastern Classic, you needed your tickets like, a month or more ago unless you want boonie seating, and I can't commit that far in advance.

Personally, any of the ones I can see PR and Madison at were the ones I would prefer. I have a feeling of pretty good certainty that I will be inspired, excited, and entertained and enjoy what I see regardless of their placement or spot in the rat race.

Interesting points, Mike. The thing is, Judges see use of high end techniques and should be crediting it. An on-field percussion judge in position would hear all of the above. So basically- all of the nuance is for one person ideally positioned to hear it. Now the whole richness of sound, I'd at least think you've got multiple players which could result in deeper chordal structures, and yeah- you could turn up the reverb or a speaker- but wouldn't that cause the for lack of better term the "Thunderous goo" people like to kvetch about? Wouldn't you get a cleaner sound by using more actual instruments and less electronics? I think that;s one for the acoustics/electronics people to answer, I guess.

One of the reasons the Front Ensemble is dressed differently is this: I had this explained to me years ago by one of my two bosses when I worked HS. If they look identical to the rest of the unit, what happens is that by human nature, your eyes and mind will bleed them into the on-field forms and visuals, which causes the visual package to be less effective and not look as good. The different appearance keeps both elements separated in the viewer's mind. The hats also add visual clutter and activity up close to the viewer, it will tend to make the viewer not look beyond the front ensemble. They'll tend to cause the viewer to fixate. All of this is very true, believe me. Not just some magic mumbo-jumbo stuff.

The slide whistle was basically pretending to be a Fue, a Japanese high-pitched Bamboo Flute. And it did a pretty good job at it!

Headin' to practice, hope to see many of yah there!

Been worried abut you all and always in my thoughts. With your encouragement Kris will dig in and make it.

Yes, but-- in the Cavies purple patch of successes for over 20 years, the book helped, but their particular visual vocabulary really made this corps what it is and made it what people identify with. Even the years with the "weaker" music books, they still placed very, very well in spite of that. I think they've learned that it's a cornerstone to what they are- it was perhaps the the one big reason they fell hard a couple of years ago.

The visual identity is what has made their brand, how they visually support this program will make or break it.

Quick thought on it- By the use of certain instruments on certain parts, you can really change the character of the brass to a very recognizable level, very subtly. Also there's a style many composers/arrangers have or favor- one can still hear that Cadets sound, PR's individuality that makes them distinctive. How one balances, chooses harmony and where it's stacked, all can make for very distinctive flavors for any horn line. Frank Dorritie taught me that as a young'in, and he could do a pretty serious dissertation on it. Right now, I'd be ready for it and learn some more from the maestro.

Many of them really aren't optimized for the outdoor arena. No way in heck would I march my Euphonium for instance. Also, there really aren't that may brass instruments to speak of, unless you think we need Ophicleides, Serpents, or Wagner Tubas out there.