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  2. do you mean the lines at "the facilities" during those 17 minute LOS intermissions?
  3. We stop this most excellent thread for a Public Service Announcement: Congratulations to the OP for a succinct, timely, and relatable thread to which all can contribute in a positive way. Hopefully the designers are listening and not staring at their own navels. Now back to "Stop, "Start, "Change."
  4. My ranking: 1. 2019 Ghostlight 2. 2017 Metamoprh 3. 2015 Ink 4. 2014 Felliniesque 5. 2011 The Beat My Heart Skipped 6. 2018 Dreams + Nighthawks 7. 2013 ReRite of Spring 8. 2016 As Dreams are Made On 9. 2012 Cabaret Voltaire 10. 2010 Through a Glass Darkly
  5. I once saw a musical in previews in New York; a musical that never opened, and that was never at the mercy of reviewers. In fact, watching it play out was fascinating. My seat was on the back row of the section of seats closest to the stage. There was an aisle right behind the seats. Two of the shows' producers stood right behind me for the entire production, talking (yeah, just like sitting too close to drum corps judges) about its merits (or lack thereof), and its potential to make money and become a success. It closed three nights later. But that's not the story behind "Nick and Nora," a musical adaptation of the noir detective series. This was a show with every known pedigree: both lead stars were award-winners, as were the writers, composer ... down the line ... to the producers. It was a lousy show; poorly staged, forgettable songs, bad pacing. But there was this one little written wrinkle that was genuinely funny: a single actor, in this case a woman, played every murder victim in the show. She was shot, stabbed, and strangled, to increasingly hysterical effect as the play wore on. Everyone associated with "Nick and Nora" went looking for new gigs, but it was the luck of the "dead woman" that will always stand out. I saw her, one year later, in her Tony Award-winning performance as Miss Adelaide in the revival of "Guys and Dolls." Faith Prince. Thank goodness for her that "Nick and Nora" -- I have forever called the production "Dick and Dora" -- turned into "Guys and Dolls" Something had to change. __________ Crossmen's finalist run origins and Spirit's three-peat notwithstanding, this is perhaps as relevant a question to pose right now as any other placement. This decade is a perfect example of what can, and does, happen to Saturday night's opening act. And the aftermath; when something has to change. Boston Crusaders' 2016 "Quixotic" was an abject mess of breezeless, inert windmills and a show that aimed for little, no unreachable star, it seemed at the season opening contest. Wholesale rewrites, a nod to "Conquest", an Audible book full of narration, and the chameleon nature of the malleable performers kept the show, and Boston, in finals. By a mere breeze. Its aftermath is the current model for sudden success and relevance in the upper echelons: an infusion of money, which leadership had been growing and stockpiling, made it possible for the organization to lure the just-crowned visual and color guard caption winner designers to a new Massachusetts home. In a single season, the Crusade reached the top six star, instantly becoming a drum corps Goliath. The following year, Madison's Scouts embraced every current design model with "The Last Man Standing," shaved heads and all. It was no Scout outing that anyone had ever seen, much less its apparently angst-ridden alumni and rabid supporters. But the corps was in finals, and was competing with the same metrics as every other corps. Whew ... it will be great to see a modern day Madison model, lots of us thought -- and hoped. Its aftermath became a confounding conundrum, too much current competitive bad cholesterol that caused cardiac arrest in the very masculine chest of the corps. "Too much" ... name the idiom other than drum corps that was leveled. Something must be done to get the venerable Scouts back in the Top 6! Maybe if the corps had played Cher's "If I Could Turn Back Time" this year, that "something" might have worked. Heaven knows the performers gave it their all! So, as show titles would have it, "The Last Man Standing" was Madison's last Saturday night performance as its six decades-long brand. May the full infusion of women into its DNA, help propel this all-time drum corps favorite back to its majestic perch. And finally, this year's Phantom Regiment. "I Am Joan" was an abject mess of inert, homemade looking props and a show that aimed for costume changes and a crowd call-and-chant. Even a fantasy of finals was dashed, it seemed at the season opening contest. Wholesale rewrites and edits, along with the chameleon nature of the malleable performers not only kept the show, and Phantom, in finals, but endeared fans for "what they overcame." (A tacit "I Am Joan".) So here we all are again, wondering what the organization has the ability (resources), will (staff changes), and desire (upward competitive movement) to make happen for 2020. Don't claim recruiting woes: the same type and caliber of performers were in both 2018 and 2019's Pacific Crest. In a comment that has probably outlived its usability, "If there had only been one more week in the season," the crest of momentum just might have been from the west coast, just might have sent "Joan" home before Saturday night. Performers rise. They want to excel. They want immediate adulation from the crowd and judges adulation from the sheets. Seems to me, in the case of our fine founding DCI corps Scouts and Regiment, the question for 2020 competitive relevance is: Will the adult leadership rise to the level of their performers? I always hope so.
  6. I’d leverage JW’s experience as much as I could, I’m sure JD did. There was some old school PR voicing in Spartacus, and they won!
  7. I helped write those WGI sheets back in my day. But I agree the DCI sheet needs to be changed completely with much of what you say as part of the re-write. But two judges are needed. DCI guards are twice the size of WGI guards minimally.
  8. Today
  9. I LOVED the '78 show! A great combination of nuance and power - I particularly loved the tenor writing (including the soft mallet choice) at the beginning of "If You Believe" and the guard clicking their heels 3 times before the big push. I also liked this year's version of "Lezghinka" than 79's...
  10. Try drum corps museum.. dcxmuseum.org for scores. Seemed up to date last week edit see it was replied to by NE. I need to see all replies before I post D’OH
  11. You will find the guiding leadership for DCI listed somewhere in here: https://www.dci.org/static/corporatepartners.
  12. I honestly like the direction things are going. This past years top 12 was one of the most entertaining shows top to bottom I have ever seen in drum corps. I say bring on guard innovation. I am looking forward to the day when objects other than rifles/guns/swords are thrown up in the air and pikes with flags on them are used. I cant wait until new things are thrown around in unison and coordination to great effect. Drum corps is no longer a spectacle paying homage to the military and the American flag.... it has not been since the break with the VFW/ American Legion and the formation of DCI. It has evolved since this break, and I predict, and will continue to evolve into greater and more spectacular musical, dance, and motion events by young adults and teenagers that defy belief.
  13. Updated with scores from Woodbridge, NJ and Goldsboro, NC
  14. Always good to see opinions of someone outside of the area as less exposed to “same old same old” thinking. I marched when MD was the southern border of DCA and after 1978 southern PA was it. Then MN (until recently) and IL (few years) came on board and people got excited for a bit. Ye olde ups and downs since then... And time in those two non DCA Sr circuits that basically folded due to decreasing corps and increasing costs. Shame as they really helped the non top corps to get shows and expose drum corps to more people. IMO I’d like to know causes for problems of corps outside of the northeast and what DCA can try to do to help. Don’t know what goes on at DCA meetings but heading back to northeast only (except for CV) from what I see with fewer corps and shows outside of the area.
  15. I agree. But I also see a vacuum in the position of "leader" of performance competition. Is there one? Does the activity need avant-guard design, and according to whom? Will there be, or is there now, design consistency that allows the participants to fluidly move from one idiom to another? Stylistic consistency that doesn't require re-teaching of skills? I'm not a professional musician, writer, arranger, or designer but I can't tell if the DCI product is being led by BOA/WGI or if it leads them.
  16. Is DCI interested in managing these types of groups that have practically no national footprint or aligned with the DCI mission statement? It would surprise me if they were. I understand if these types of groups need local DCI show performance opportunities, and it’s been stated that DCI allows this even though there is no official DCI Class for all age groups. IMO that in itself should help control cost. As an alternative competitive all age circuit SoundSport and WGI Winds might be their better options, if their circuit is truly failing due to the dynamics previously stated by others. I don’t know for sure only speculating but unlike DCI the DCA corps don’t seem to have as much influence on the direction or operations of their circuit. However if that’s not true then they only have themselves to blame for its demise. Have no more to share.
  17. There is also the "historical scores" section on the DCA website.
  18. It depends on the corps and the show. I've never marched ,so please forgive me if I don't use all the correct technical terms. A number of corps have shows,including props,that go end zone to end zone. On a hockey rink there also aren't "sidelines" to "stage" equipment,musicians,etc. Corps also position their MM in the corners of a field to create a visual or musical effect. "Blast" worked because it incorporated a 'best of drum corps" into a single show. Putting a number of incohesive show designs,with different corps,in different orders every night,doesn't seem like a viable concept. I also don't know what kind of "surface" most arenas have. I presume smooth concrete. That leads to all kinds of issues with "footing"
  19. I believe the term "WGI-ification" has already been coined. If not, there it is...…………………….. Someone call Webster
  20. Any bets he used Jim Wren to throw ideas off of? I don't think WP has enough self-abasement to consider this.
  21. If you want to kill this trend Fred have them play at Hershey. The concrete roof and walls bounce sounds REAL good. Not to mention the concrete floor if not covered right. Been there with a Corps for Youth Olympics event and still hear the echo...
  22. If you truly wanted to level the playing field they would start doing a spending cap and don't allow access to judges in the off season. BD knows how to play the game.
  23. I'm not certain. Given the push back that corps aparently gets in the HS world, I wpuld doubt there's a tremendous ampunt od recruiting. But I could be off base as I don't go to HS band competitions.
  24. My vote goes to Madison 2017. I found that show to be very different and entertaining. HMs for Fragile and ATL
  25. That's fine as well. As long as an actual score is given and the corps are judged like for like against other DCA corps.
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