BigW

Stuff is crazy here too. Which is why I'd take a personal day and go see a show with an old friend.

The poster may be right. It might be the best season ever, great bread and circuses and even without a mainstay of DCI for the last 50 years in competition. My gall bladder was removed years ago. I held off on the removal so I could play with my alumni corps. My prostate went last month. My tonsils when I was 8. Age is irrelevant to the discussion, and a rather condescending comment to make. What original equipment pieces I still possess also make no difference to my perceptions or thoughts. The post is so typical of the "nothing to see here, nothing is wrong, go away", then make mocking comments school I see time and time again here when someone brings up things that make others uncomfortable. Like when... - things were brought up about two DCI at the time HoF directors that nose dived one of their corps nearly into oblivion and got the other one rendered effectively inactive through their behaviors that had been called out here. -A DCA corps had made serious efforts to bury the fact they had someone on Megan's list performing with them by threatening individuals in various ways to shut them up, and some of the members even made excuses here. Eventually someone doxxed out the secret here, and even then there were the "nothing to see here" crowds defending the decisions. (individual railroaded, even though the jury found them guilty beyond a reasonable doubt.... they deserved a second chance...umm, absolutely NOT...), and I pointed out at the time that the appeal in the linked official court documents didn't appeal the guilt, but the severity of sentence. They went away. So did the corps. - the recent SCV thread has shown there are elements in control at SCV doing the same thing. "Hush up, nothing to see here, go away or we'll drop the banhammer on you" when there's a real issue that they don't like having made public, even though the public documents are out there. So be aware that that kind of standpoint usually is a repeated failure. Look carefully at a lot of historical trends. Corps historically don't care about the well-being of their competitors. In fact, if they fail or have trouble, it's a benefit. They can get members, staff, and it's one less threat at championships. Jim and Jeff can vouch for the benefits of how Westshore got many great individuals from the failure of the Yankee-Rebels, as well as folks from Erie, Rochester, Johnsonburg, and Steel City when those corps had trouble. It's still like that. the OP in the Vanguard posted how some performers have landed with other corps and how he was happy they did, but he felt bad they didn't get the experience they'd hoped for. Whining? Really? Come on. The problem is, everyone's running out of corps to fail. One individual posted that no World Class corps has started in 7 years. In that time, one's gone inactive for this season, and another was basically suspended until a leadership change was done, and that's not likely to happen. Unless someone can find a well-heeled and financially savvy person like Mr. Cook, it's doubtful anyone can build one from the ground up and get it really competitive. As has been said by a mentor of mine on DCP, it's a walk to the gallows, the question is slower, or faster? The bread and circuses might be fine for now or a few years, but is it sustainable? There was a huge ruckus when the G6 proposal was leaked. That would have likely wiped out everyone but the G6, and indirectly, one of the masterminds behind it was moaning at the time how they weren't getting the best performers to audition anymore. Wiping out a few competitors may have helped their cause. It was likely a motive. Take the cream of the cream, and make lip service to education. Is it the answer? It's worth discussing. All just my tuppence. It's headed to some kind of tipping point in DCI and DCA. I'm not knowing when for either. Speaking of bread and circuses, Jim, if you're going to Dover, I'll take a personal day. I really dug your comment earlier. I'll show for the performers in Open who work just as hard. 3AM, time for bed.

The feeling that one has been listened to and respected goes a long way. Also maybe explaining why there's a disagreement and why the course of action might be different is also appreciated by people. When people feel that they're talking to a wall or the answers aren't well thought out, that's when you have these problems.

Been giving more thought to some of this. I dislike talking about my background in many ways. But in the last 38+ years, I've likely seen at least 1100 live HS band performances, though never any live serious BoA bands. There are a dearth of them here in PA where I operate from. Only two serious ones, and a few that dabble and head to Towson and end up not embarrassing themselves, but finish about 30-50th percentile of the contestants. Most are smaller organizations. The larger bands are generally Show Bands that Droney Baloney away like many College Bands and like to brag about taking big trips, but never actually have any real substance. One had dancing Tigers (well, kids in costumes...). My Dad was an Alumni and was embarrassed by them. Just my tuppence. Jeff mentioned how does one catch cheaters... it's not easy, and then the feces hit the impeller if one speaks up. The Chief Judge had (bleep) well better not back down. I can only think of only one instance where someone was caught red-handed using a sequencer when it was against the rules.. The band's keyboards were hooded by plexiglass constructions... supposedly to keep moisture off them. The performers had to reach in and under to play them... and when the parts got difficult... on went the sequencer and they pretended to play, but not touching the actual keys. You had to be at the right angles to catch it and at the right moments. The Director and his son were bullies, (insert many negative and colorful descriptors) that no one, especially myself had any respect for after they showed a lack of respect for their students... and others. Eventually their asinine and nasty behaviors resulted in a letter from the chief music adjudicator of one circuit sending their Superintendent a letter describing their behaviors. They were gone from that circuit after that kerfluffle. The cat was an embarrassment to anyone in the Music Education Field. A Case study in how not to run your competition band and how not to respect your kids. As for bands using the electronics to mask the winds... I can think of only one instance where it got really iffy. There have been some smaller bands that rely heavily on the keyboards... but when you have seven Woodwinds and Brass, you have to do something. As for the comment about "Thunderous Goo" Electric bass... I recall seeing a small band from a smaller town in NW PA where their electric bass player was by far the best musician in the band. Never overplayed, no distorted sounds, but a real honest-to-God musician. At the BoA level, if that sort of thing shows up, I'm certain the Ensemble Music person will factor that in as a serious separator. It doesn't take very much to fall off the top at that level. So- Perhaps there are accusations flying behind the scenes at BoA amongst some of the higher-level competitors feeling that someone is using an "unfair advantage", or they're trying to get into some people's heads like Red Bull plays games in F1. No one is happy unless they're winning at that level. Jobs are on the line.

You mean the Vattikuti Foundation? I was curious as to who they are, and it hit very close to home when I looked them up. While I did not, repeat not have cancer... the whole robotic thing was a serious option for me. I went for the laser. Less intrusive. It appears that the Boston crew have many contacts in the finance and medical world and have worked on good relationships. All respect.

I find this interesting and a great question/comment. When I arranged or reworked things, sometimes we had performers who couldn't hack the feature, but I wrote something they could perform within that feature that fit to keep them involved and not feeling left out. Some were special needs kids. I wanted to make sure the panel heard and saw that everyone was contributing what they could, and that we weren't cutting anyone. It could be thought of as shady, sure, in that there's a bit of a musical illusion created if one wishes to see it in that way. I and the rest of the staff saw it as better to involve everyone as best as they could be involved, and also to respect the performers. In the 30 or less musician class in the one regional circuit, the winner miked the 15 or so winds they had. That being said, garbage into the mike, garbage out the speaker. There was no garbage. They also rolled the dice and got the balance and sound right at the championship venue. Another competitor had equipment failure, which cost them several places in overtime penalties while the rectified the issues. There's still a bit of a gamble. There, we're talking a very small band, not a cast of thousands BoA juggernaut. From observation, I'm not seeing any of those top-end BoA units suffering for a loss of bodies on any particular instrument. The programs appear to have and get what they need and the overall instrumental music program from entry level on up is obviously built to provide enough well-trained bodies on the various instruments. Can electronic timbres enhance, if used wisely, sure! The thing is, I've studied Carmel's winning performance this year. It's not showing any of the negative excesses described in some of the posts. It's quite sublime. It's caused a lot of grousing from some circles because it's very meat and potatoes and not over baked and over thought and performed very precisely and elegantly. If they are using the electronics to stiffen weak sections, it's extremely subtle. A huge if there...

It's excellent that they've been able to sell these groups on the value of what they do and to be able to keep them feeling their donations and support are well worth what they put in. It's obvious there's a lot of hard effort from many people to enable that success.

Interesting! While eating, I thought about more of this- Historically, the corps have been very autonomous. In terms of sponsorship and income, they pretty much appear to be of the thought, 'Thanks for your money! We'd like no strings attached, now go away until we need more.' The problem is, with modern high level sponsorship with real money, it's not how things work. Since Auto Racing's been brought up- and I've been a lifelong gearhead thanks to my Dad- Let's look at Red Bull and how it's operated. Why does Red Bull operate an F1 team? There have been a few articles on it, and in essence, what they pour in monetarily, they get back and more in terms of advertising revenue. When that car is in front, when it wins, when the drivers are making headlines, when crusty, crazy old Helmut Marko is saying crazy stuff that gets reported, it's free advertising for Red Bull that they don't have to do. According to the metrics, they get more advertising from their expenditure from the media attention and the TV footage of the cars in the lead. Red Bull used to sponsor a NASCAR team. It left- why? The cars weren't getting the air time in front... the benefits were under the expenditures is my educated guess. Would a DCI corps be willing to make a deal with something like Red Bull? Good question! The Red Bull (insert corps name) or would the corps be the Red Bulls? Who knows? I'm certain that for that money, the corps would have to be involved in various public appearances, an internet presence, media exposures... and expected to win. Would a corps be willing to give up a level of their autonomy, maybe all of it for the cash!? We'll see. Just something to ponder. More than willing to discuss, I've found this thread very educational and thoughtful.

Thanks! If not for the good wishes and prayers from so many... I'm deeply thankful. Hopefully the post provided some perspective and food for thought. I'm thinking more about it over dinner!

This was done 50 years ago with the "First Federal Blue Stars." IIRC there was a kerfluffle back then from other competitors. Commercialism, crass, so on and so forth. Circa 1980, there was a small corps in NJ called Fantasia III that competed in Garden State and DCE which had, if I remember a Burger King sponsorship and they had a BK flag in the Main Guard, which caused another kerfluffle from competitors. Needless to say, they folded after that mainly because they lost sponsorship over rules changes, pressure, and complaints from other competitors if I remember correctly. Then we had Suncoast and the Circle K fiasco, biting the hand that feeds you monetarily is never smart. There's been a real resistance to these kinds of things for literally decades. The situation now is that the spice must flow, the corps are looking at seven figure budgets. There's no scaling down or looking back. FYI... I'm finally healthy enough to try and post again. Been reading for several months when I felt up to it. When Jeff and his Dad saw me at Williamsport DCA... I was pretty ill. Been a long road to recovery. If not for the discipline I learned in this activity- If I was really, really, lucky, I'd be on dialysis. Not lucky, prolly gone from a stroke.... It takes a heckuva lot to kill a Baritone Player.

Thank you, Chris, very, very thoughtful. I hope to meet you sometime in the future. I thought about your review, and I think it's good you have high expectations. I respect that. For me, I was just happy to get to a contest, but I think the facilities, etc. were better coordinated as well as parking. Thanks again!

Spot on, Jeff. The corps put on honest and good performances. Nothing half-finished, half baked. At times, I was getting that feeling and vibe pre-covid from certain teams. I'm not looking for perfection, but there were just some instances from some corps where I felt they were serving up raw brownie batter off the mixer beater and not Brownies and expecting the audience to lick their lips begging for more.

If you're there, get that crowd rowdy and standing near the end when they roll the orange prop into the horns while they're blowing Andromeda plasma.. If you do it, they WILL follow. Don't wait for the Crown. 😸

Scores notwithstanding, the East crowd WILL give it up for Crown if they can nail the program. DYNAMIC.

Conclusions: When I decided to attend, I was very worried. Worried about seating, and worried I'd be looking at a lot of half baked and unbaked cakes. I realize the cakes aren't perfect but they're baked through where I can enjoy them. They just have to get the decorations and frosting on a little better. As for the numbers, I have no dog in the fight. I'm paying for the ticket and not paid to render a decision, I just want to be inspired, entertained, and think of new ideas and concepts. I was. That being said, I did look at the rundown later. I can read a tote sheet. The answer is, Game on, Baby. Right now, the way the numbers fall, the panels are saying it's anyone's game. If you perform, this is what you live for. What corps can avoid toxicity, drama and pull together? A lack of respect for an opponent can cause failure. The Bucs and Cabs' guards are both passionate, professional, and tough as steel. Westshore had a Championship guard one season when I performed, and both of these guards have those inner qualities/character that they need. The battle's on! The percussion numbers are also mixed. Reading's scoring top Book, Cabs in Performance. Two swordsmen hard at it. It's not gonna be pretty. I deeply appreciated everyone's efforts, but it's time to hop off and go back to being BigW, the GunFu wielding Space Samurai in Black fighting to save the universe in PSO2:NG... It's how I kept my sanity during lockdown and I enjoy it. Maybe I'll see some of you there on Ship 2!

The Cabs' Alumni was a bit smaller, but I think more musically focused, less of that G spread and scatter that can happen with the old horns. They seemed really solid and tight that evening. I stayed to watch the Honor Guard. I know, it may sound odd. Something told me to just watch them that night when they set up for the flag presentation. I look at many things. I search for great moments. Side 2 move to the 50, perfect file, the flags at exactly the right heights and carry angles, the kick pleats spot on. The Left Face on the 50 and Present Colors, PERFECT. Just so right and iconic. Lead that company front forward. Right here, right now. I thought about this a lot. Everyone can learn something from this. What? That squad never mails it in. Ever. People would love it regardless. My guess is that if I talked to them, they'd say, "It's our job! We respect the colors. We respect our corpsmates. We respect Post 199 and all who have served." They also remind all of us that there is something special in this activity when something is done well and with excellence. I'm certain George would have been proud of that moment. Thank you.

The White Sabres' show "Heavy Metal" has a unique Timbral palette. That's a good thing. What's the point of sounding like everyone else when you can develop your own sound that the fans will enjoy and appreciate? They have a darker tonality which fits the material. and they're only fielding 3 Tubas- who are getting the job DONE. The Bari feature in "Nothing Else Matters" is right on- they get it. The battery is small but gutsy, and plays musically and well. They seemed a bit tired at the end of the program, and gave away some low hanging fruit, but with reps, that should clean easily. The show was quite enjoyable.

Needed hype. A ton of it. Right here, right now. The Cabs' "Timeless" program is another taken direction for the corps. It's different. How? The horns had several out from positive tests, and I hope they're all well. Losing a friend to COVID hasn't been easy for me. It did make some subtle differences to the brass performance. They're really young, and when you're missing people next to you, it can challenge one's confidence or finding the ensemble balance. I believe they have the right staff in place to build and develop those young people. The music's varied. Swan Lake...Billy Joel, Meat Loaf... but it all works well together. Strong, thoughtful arranging is in place, and what's also interesting is how the Battery is used in this corps. One usually expects the brass to carry the drama and passion for the Cabs, but this season, it's the battery that frames the emotions and excitement. They have a very different personality from the Bucs' percussion. How so? I see the Cabs as Inigo Montoya, and everyone's killed their father. They fight with the rapier, as a swashbuckler, focused and elegant. The Bucs percussion are like Toshiro Mifune, the OG Samurai in Part two of the Samurai Trilogy. 80 people take him on thinking the fight's in their favor. Up goes the body count. Brash, ferocious. There's a particularly fine Flugelhorn feature that's quite artistically shaped in this show that I view as a strong highlight. There were some unsettled brass ensemble issues that I think will easily work through once everyone gets more comfortable with the pop style pieces at the tail of the program and with the brass ensemble getting more time together. Thery just need some time to build their trust in each other to deliver the goods throughout the program.

The Westshoremen had some of those kinds of Tigers, Fran, one of them being a married couple. John and Julie Close could drop the hammer and make the bell rattle. I still remember John rolling into rehearsal on his Harley. I know both were ex-Y-R/Southwind. in 1982/3, the hammer drop before the ending fanfare in "All the Things you Are"? Art Murray. The Contra at the beginning of Winnetka '82 and with the Alumni? Art. In the 90's Nelson B. was one of those guys with Westshore and later, the Cabs. There's a pic somewhere on FB of Art, Nelson and I at a pre covid TubaChristmas in Frederick, MD. Playing "Mele Kalikimaka" with those guys at that gig on my Euphonium was a scream. In 1979, the Contras had T-Shirts made that read "3+John=12". TRUTH. Those two cats at Fusion are doing some kind of new math where 2=8. Please bear with me, White Sabres and both Cabs organizations. I write when I have the energy and can give all of you the time and thoughts you deserve (In a good way, I hope!)

A later start would get the earlier corps out from the brunt of the heat. I like that move from a performer and spectator safety standpoint.

The Bucs' (Size, too many to easily count and big enough) "Alter-Ego" show was a rather fascinating and unique experience for a lot of reasons. The aesthetics of the uniforms work, even though at first, I had doubts. Careful design of the uniforms themselves and the drill make it happen. If they want a certain amount of mental dissonance, they're getting it from that aspect. The show is basically a psychological drama and exploration of one's self, and this one is well done. I've seen some of these types of shows where it didn't work, and this one is laid out and paced well. All I can say is that something different and unique took place. I'm going to try and describe it. The Brass is as it's always been. They played hard, played well, compliments to the Low Brass who threw the punches they were asked to.... The Battery. Dear God, the battery. Why, how, I'm uncertain. Chip on their shoulders? A very intense and aggressive overall personality? I didn't expect the battery to come out and be that insanely compelling-not too loud-not musically overbearing... but by sheer force of personality, they stole the program. They MADE me watch them. They threw down HARD. And we're dealing with a typical strong and very capable Bucs' brass section, not a bunch of apologetic sorry we showed up at the show milquetoasts that begged to get thrown under the bus. What this exactly means, I'm uncertain. I've never seen a battery take a show over by sheer force of will like that. Maybe.. some of Rennick's lines in DCI? Does it mean that the Brass and Guard are going to have to push even harder to line up with that level of raw force of nature intensity? Dear God, how? I know they're driving hard. It's like, "We want you to be as intense as Godzilla is when he's stomping Osaka and flossing his teeth with the castle. For most of the program." They'll figure this out somehow. There are too many bright individuals who have been around for too long in the corps. I never worry about cleaning with the Bucs. They had their issues, but it will get done. I'm still boggled by the experience. In good ways, energized and excited by that intensity, but left wondering.

Next up, Rogues Hollow Regiment and "The Other Side of the Door". (7 Battery, 7FE, 21 Brass, 2 CG). I'm diggin' the fat, split third, dense harmony Blood, Sweat and Tears/Tower of Power Funk vibe. All they need is my Grandma's Leslie Speaker to hook up to the Hammond organ. The Low Brass plays strong and fat, which sets up all the stuff on top. The narration sets things up well and doesn't dominate the conversation. Very 'Beat Generation' feel that works well. I like the fast show pace. Now, Let's talk some turkey. I LIKE this show. I WANT to see this show taken to some serious levels because all the ingredients are there to take it there. What's gotta happen? 1: Clean all the low hanging fruit, especially off the battery. When the Lead Bari player hears dirt in the battery, there's a lot to clean. There's a lot of musical things that some of the brass are being rather cavalier with. Everyone has to be tight and consistent across the ensemble in terms of intonation and articulation to make jazz/funk work. When it works for Rogues' Hollow, it WORKS. But it's gotta work all of the time. When the battery cleans up, it'll also help the brass to stick the re-entries after the percussion features. Right now, there appears to be a bit of hesitation because of that issue. 2: "White Rabbit". Everything is set up for the shout chorus... and everyone goes stiff. AAARGH! Only The Cadets do things like that and get away with it because that's part of their brand. Do I need to get some of the ole Westshore crazies to dance around you cats in rehearsal to loosen you all up!? Have fun with that moment!!!! Cut loose to help sell the moment! This is a cool show. I love the fact that they have a very distinct sound and personality. All they gotta do is refine, clean, and push.

Let's get back to business. "Chega de Saudade" by T-Bones Brasil, on.... Next Core, Fusion Core 2022 roster 7FE/10CG/15 Battery/13 Brass. As a warm-up, I found the 2021 "Smile" show available for viewing, so forgive me for commenting on last year, but I'll start with a statement- I've never been disappointed by Fusion Core. Ever. They have a way of lifting me by the shoulders. Always positive, energetic, fun-loving, and a sense of kindness pervade their performances. I have a dislike of the trite and corny as well on the field. "Smile" took some music that's usually arranged and performed cornier than the Jolly Green Giant and the Litle Green Sprout combined and did something very thoughtful and intelligent. There was a lot of thought and effort from Staff and performers put into that program to make it that cool and to overcome so, so many bad arrangements and performances of that same material from a lot of College and High Schools. Thank you to he 2021 Core! What about 2022's "Royal", a tale of power and the effects of said power? There's a lot to talk about here. The way the dialogue is written and performed between Battery and Brass so they both work together very well. when Battery numbers match brass numbers, there can be a lost battle from the brass in the balance of the program. There's a great dialogue and respect between the two elements. Both have their opportunities and have a real musical conversation that's very well staged and set up to allow the performers to shine, and shine they do. Fusion Core could apologize for being smaller and sulk around on the field and people would be understanding, but that is NOT their way. They ATTACK. 13 Brass who can't be humans, they're ****ing tigers! None of them let the rest of the section carry them. Ever. Pound for pound, as tough as anyone in the circuit. I hope they realize how special they are, encourage one another and have respect for each other's talents. (but don't get too cocky!) The two Tubas are likely kept secure, fed raw meat, and only turned loose for the show. I knew a couple of power players back in the day that were legendary for their raw power in the Westshoremen and these two are right there. There's a descending line later in the program where they drop the hammer and knock the listener out. Yeah, there are things that need refined. There's a month to go. It's a lot easier to dial back than beg for more. I tend to avoid talking about performance issues unless they're really glaring at me. My thanks to the Core.

I was happy to see all of you, It was like medicine for the soul. Hanging with your Dad makes me feel like I'm in my teens again at practice with Rook. There is no price I can attach to that.

I have no idea if anyone's looking, if anyone cares, but I figure I'd at least start to get the review up for the contest. It's the only contest I'm headed to this season, and I had concerns. I'll start by saying that a lot of things I feared didn't take place. The Hosts did an excellent job getting the reserved seats resolved and sold quickly. The food and hospitality were fine. The stadium can have a way of cooking the spectators due to sun angle and stadium facing but starting the show later in the day alleviated those issues. It was a very hard day to rehearse in, for which I offer all of the performers my appreciation and respect. I've not been feeling exactly well of late. I think the effects of COVID have hit on all of us in one way or another. I'll go through the show in order. When Listing estimated counts, if I'm off a bit, be understanding. I realize that certain people were missing in various corps in various sections because of positive tests and I hope their health is good. The Skyliners (11 Front Ensemble, 9 Battery, 14 Brass, 6 Color Guard... NOTE: EVERY corps exceeded 35 total membership whether or not that is being enforced now. Just sayin' in response to some folks who carp on that issue.) are performing a show based on the classic "Slaughter on Tenth Avenue". I believe the brass book has a lot of very thoughtful and imaginative content. It looks back to the past yet is very fresh and contemporary to today's activity. The performance left me to believe there's still a final section to be added to the total package. The corps is very young. Right now, the Brass is still in a process of gaining confidence and finding themselves and where they contribute. When everyone is confident, they project a solid sound for being so small. There seems to be a lack of feel for the continuity of the show, how each phrase and element flow into one another. When things are going right, one can feel a seamless transition as one idea hands off to the other musically, and right now, it seems the Corps understands each individual chunk, but not how each of those chunks flow into the next idea. The Snare section performed with confidence and excitement, which was appreciated. There's a really fine Baritone Solo in the program, and I encourage the player to play with confidence. They know what they're doing, but I sensed some nerves and hesitations. They have the right stuff, play with self-confidence. Once this show is complete, flows, and is performed with confidence, I believe it can really be a vehicle to really move the audience. I know the team is hard working, dedicated, and is capable of performing with all the details that are needed.