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About ftwdrummer

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  1. All time shows: Phantom Regiment

    I can provide some insight on this one from one of my HS band directors, who marched the show--the drill writer got meningitis and had to leave early, so everything after that was cobbled together.
  2. Cadets 2018

    Someone (Shanefield, I think) mentioned that much of the text was going to be direct quotes of the poem (though not necessarily with the same melodic setting as in the actual song "The Sound of Silence"). So, potentially some setting the words to different melodic lines, potentially some spoken-word (a la the great Leonard Cohen performance of the poem)?
  3. Cadets 2018

    George Hopkins. (two parts meme, one part honest answer)
  4. All time shows: Blue Devils

    Agreed on the narrator having a perfect voice for it. But the back-to-front structure of the story they're trying to tell just...doesn't work. And it's an iffy visual package at best.
  5. All time shows: Blue Devils

    Easiest for me to break this up into "before I started following drum corps" and "after I started following drum corps. For reference, the first show I ever went to live was Dallas in '05. -2008: I spent most of the season thinking this show would break the high score record. I wish they had stuck with this style visually more than they have--it had the right balance (pun very much intended) of body movement, staging, and straight-ahead drill. And BD doing "I Will Wait For You" was absolutely wonderful. -2011: I enjoyed 2008, and was delighted by 2008...but 2011 was the first BD show I fell in love with. So good musically! Such interesting twists on classic drum corps structure (soft percussion feature, "I Say a Little Prayer" as a straight-up concert number to a certain extent, "Wives and Lovers"--so delightful). I wish they hadn't made some of the changes they had through the season (the added "...and a house is not a home" voice-over always kills me when I listen to it, for example; also the solo going out of the opening "House is Not a Home"). It was nice to see BD do something that had a giant, aching heart at the middle of it, in a way they hadn't in my time watching, and wouldn't again until... -2014: THAT TRUMPET SOLO IN LA STRADA. Also THEY COMMISSIONED A GOODWIN ORIGINAL (and this was by far the best of the three). Fantastic guard work throughout (the exchanging rifles across heights! The runway walk in La Strada! THE TAMBOURINE FEATURE!!!!!) BD always executes, but this one was on another level even for them. -2015: There's always a show each year that makes me cry, because I am the sort of person who cries at drum corps shows. There's a few usual suspects (Troopers and Madison, primarily). But occasionally one will surprise me. This one was one of them. I never, ever expected BD to make me cry. But it turns out (1) "Children Will Listen" will always make me cry, and (2) BD can pull off Sondheim very, very well (which I never expected--never seemed quite their style). And then they added Clara. After the tour premiere, I expected 2015 to be a rough year for shows, which happens (I'd say 2012 was a relatively weak year for drum corps the same way it was a relatively weak year for movies, for example--2009 is the other one that particularly stands out as weak in my mind). It was anything but rough come Finals, and BD was a big part of that. -2017: The Blue Devils did an off-the-line opening with quotes of past shows, then played Flight of the Bumblebee, then did a straight-up concert number of "Everything Must Change." I didn't particularly care for the drum break/closer (I'm meh on samples, and the jazz break at the end always felt abrupt, like "oh, this is where we have our jazz break now," rather than emerging organically from the music), but I didn't need to. I saw it live twice (as well as in the theater broadcast), and I only had one think to say each time: "eighteen." HM: 2013. Way more listenable than you might expect, given that it's a jazz Rite of Spring that was built as much around the visual as anything. Before I started following drum corps: -1986: Channel One. 'Nuff said. -1992: When a Man Loves a Woman. 'Nuff said. -1998: One of the best arranged (if not *the* best arranged) drum corps shows ever. Certainly the best arranged BD show, just in terms of how the two sources wove together practically seamlessly. That opening brass choir is everything I want from a drum corps hornline--the fact that they followed that with an excellent show to go with was icing on the cake. -1999: first Devils show that ever really landed for me. Such wonderful percussion work! Such a varied musical repertoire! THAT BALLAD! And--shouts to Tom Blair (assuming he directed 1999): the fantastic camera cut after the sixth movement starts, when you hear the underlying tom cadence, but don't know where it's coming from, and then cut to a down-the-line shot of the quads playing the djun djuns from the beginning--very well done. Also one of the more interesting BD show for me because it's one of the few cases where I saw both early-season and late-season versions of the show (shout-out to whoever put the lights out performance on the Internet, because that is excellent). -2000: This doesn't really feel like a BD show--it always felt more to me like what Blue Stars should have done after "Houdini" (instead of the Bourne show). But, again, so very, very well done. That pit accelerando in the closer is bloody wonderful. Least favorites: -So, I have the CDs from 2005 on my hard drive. And I took to listening to BD 2005 a lot because it worked out really well tempo-wise for setting pace on an exercise bike. There's some fantastic music in there. So I figured, "hey, maybe this show isn't as bad as I thought." Then I found a video of it on the internet somewhere and watched and...nope, no, it actually is the worst designed BD show of this millennium. Great music, though. And a bunch of ideas that later wove themselves into better BD shows (this is the first instance, I believe, of the soft drum break that made its way back into 2011, for example). -2006: Just an all-around meh. -2010: I got what they were going for, and they executed well, but...there's a reason Stan Kenton only performed "Glass City" once live. -2012: Again, achieved what they were going for, but not necessarily the most entertaining.
  6. Fantasy drum corps! The people who geek out about captions and spreadsheets way too much. Also the people who come up with show ideas and don't have outlets for them. For instance, me, who gets bored and thinks up show ideas more or less on a lark. You should come by and try it. We have off-season seasons, too. http://www.drumcorpsfantasy.com/
  7. All time shows: The Cadets

    Top five, in no particular order, with the caveat that I have trouble figuring out how to consider shows before about 1987, just because high-cam vids don't seem to exist and the multi-cam direction was pretty terrible (1983 would probably be on here if I could find a good video of it that doesn't have bizarre cuts; ditto with 1984): -2000. One of my go-to examples for introducing people to what drum corps can be. And I get a little bit of a tear in my eye every time I watch the multi-cam, when the camera cuts to the guard person barely holding her emotions together at the tail end of the company front, before launching into that delightful final drill. -2005. Tied the high score record for a reason--it's a danged good show. The ballad is delightful; the symbols Sacktig was able to weave into the drill in the opener were fantastic; THAT DRUM BREAK (including the one aspect of drumming that that show got perfectly that no one else seems to, the singing through parts). -2007. If I didn't include placement in my personal weighting of drum corps shows, this one would probably be my favorite Cadets show. Some people disliked the narration; for me, it nails the Hammerstein-esque heart of the material it was going for. And that drill--there's a BLOODY REVERSE Z-PULL COLLAPSE INTO A COMPANY FRONT AND IT'S PRACTICALLY BACKGROUND. -1990. The Z-pull rewind is fun. So is the now-underutilized "let's just play some good music from this person" show concept (the last one I specifically recall where the center principle was the composer was SCV 2010, with the Bartok show--while Cadets 2013 was all Barber, that was somewhat incidental to the show concept). Some delightful guard work as well, and some fascinating staging work with how the battery was used in the ballad (which, speaking of: fantastic ballad). -2011. Great music--the demonic Doxology was fantastic. One of the more striking visual concepts ever (splitting the corps and at times writing the corps as two separate corps, with conductors and pit unifying the two sides). Shouts to that battery for re-learning the show on an off day (more shouts to the pit for covering the battery's laundry duty so they could do that). Really just a great, great show. HM: -2009. Because (a) it's my generation of fan's WSS, and (b) the HNC-->G-->CB-->75 drill in "Tonight." -2013. Mostly for the Prosperie tape. But it too fell under what seems to happen more often with Cadets than other corps (imo)--shows that are disliked in the moment, but people go back and say "hey, that was actually really good" afterward. -2001. Because fun music is fun and it's a good show to bike to. -2017. That show was a hot mess, but I still kinda love it in a weird way, even though every time they made a good change, they seemed to add a bad one at the same time. Least favorites: -2006. Somehow the first Cadets show I ever saw. It was sad. -2008. I could tell what they were going for, but if you're going to do a radio show on the field, it works better in the style of Colts 2015. -2014. This would likely be an HM if they'd gone up-beat ending. Slow over-patriotic ending was a bit much, even if I got what they were going for with it. Great narrator, though.
  8. Shows up most any time a corps does "Jupiter," to be fair.
  9. 2018 Rules proposals

    No, but neither does 80. If you want a perfect square, you have to either go to 64 or 81. If you wanted an 8x10, drop guard to 36 and boom, perfect 6x6 square. (again, though, I did pit, so the numbers on the field are generally a ¯\_(ツ)_/¯ to me.
  10. 2018 Rules proposals

    Breaking them down into "Agree," "Agree, but Can See the Logic for No," "Disagree but Can See the Logic for Yes," and "Ummm...wat?": Agree: 5) Annual Rules Congress (Kevin Shah, BK) -- YES PLEASE. It would save us the minor tremor of terror all of us had when Hop noted that because corps have purchased things already amplification wouldn't be able to be addressed before the 2020 Congress. 6) Brass Amplification (Michael Martin, Cavies) -- Also a YES PLEASE. I'd extend it to 12 at a time, personally, but VERY YES on this, though I'm not sure how you'd enforce it, unless T&P was given a monitor for the sound system. 8) Percussion adjudication and Music Analysis (Kevin Shah, BK) -- Getting field sampling of percussion is important. We've had that debate. Moving the drum judge back on the field and splitting music analysis into two captions (one brass, one percussion) at regionals/championships would handle the "are we addressing drums correctly" question. I'd similarly be ok with splitting visual analysis into two people, one more marching/maneuvering-focused, one more guard focused. 9) Update the Music Analysis Sheet (Kevin Shah, BK) -- Agreed, especially with the things that he specifically mentions (electronics) Agree, But See the Logic for No 7) Brass 2 (Michael Martin, Cavies) -- Field-level brass adjudication doesn't sufficiently monitor the ensemble. I could see the argument for addressing this as part of redoing the Music Analysis caption, though. Disagree, But See the Logic for Yes 3) No scoring before July (Pitts) -- yes to all the things you said in your reasoning, but that's always been true, and it's not like early season scores have ever mattered that much. That said, I could agree with possibly using the system mentioned in proposal (5) before July 1st, as a compromise here. 4) Ordinals only, no scores (Hopkins) -- I see the reasoning for wanting to balance relative judge weights out, if for no other reason than (as I believe I've discussed in the past) visual judges are more inclined to give higher scores than music judges (see: the number of max scores given in visual achievement captions vs the number given in music achievement captions). That said, some times one group really is just that much better than another and that should be reflected accordingly. Having done four years of high school marching band under ordinal rules (Texas UIL), it kinda sucks. That said, could be applicable before July 1. Ummm...wat 1) Expand to 154 (Furlano) -- yo, just march 76 brass and it'll be fine. Or knock out some synth players if you really need 80/40. 2) Expand Finals to 15 (Cesario) -- start with where you'd put them on the field for retreat. Then go on to how long Finals would take. And 13-15 already get the perk of being in the movie theater; that seems like a big enough bump.
  11. All time shows: The Crossmen

    Favorites 1) 1998. Because that pit feature makes me cry basically every time I listen to it. (Related: I was in pit.) 2) 1992. Pretty much inimpeachable. 3) 2002. Heat of the Day is fun. So is Strawberry Soup. 4) 2014. The new uniforms were great. Musical selections were delightful, especially with Caravan woven throughout. The Maltese Cross --> 40 --> park and park was bloody delightful. 5) 2012. THAT SCREAMER. Delightful music, pretty solid drill...and dang was it nice to see them in Finals again. HM: 1997. Because you have to at least acknowledge their highest score ever. 2005. Because Classical Gas is fun. Least favorites: 1) 2009. Crossmen...you're the Crossmen. Why are you doing Twilight: the Drum Corps Show with Medea and Evanescence? Just...just be the Crossmen, not the RRHS Drum corps. 2) 2010. No seriously, stop trying to be the RRHS drum corps.
  12. So, Star '91 is probably one of the five best champion shows ever (I personally have it first, but I can see arguments for SCV '89/Cavies '02/BD '14/etc.). But there's a question about it that just popped into my head tonight. So, we've read the story of Zingali teaching the cross-to-cross on the fly, more or less coming up with it on the spot in rehearsal one day. Does anyone remember what the ending to the show was before that got put in? I don't know when it got put in in the season, so I have no idea what parts of the country would have seen the original ending. And it's unlikely that publicly available video of it survives, unless someone still has their VHS that they recorded with their camcorder in 1991. Anyone happen to know?
  13. DCI Design Staff's Other Work

    Sacktig and May both work with other groups, as listed above. Bocook has been brass arranger at BK since ~2012.
  14. TOC shows

    (Because I'm feeling snarky today.)