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Rumor has it the kicker is mad that DCI now allows trombones.

Ladies and Gentlemen: Like all of your fans and my fellow alumni, I fully expected to enjoy watching you in this year's DCA Finals. When that did not materialize, I was disappointed, just like you. But there is something you must understand. There was a time when all the great drum corps were in the same position: The Buccaneers, Cabs, Blue Devils, Santa Clara, Cadets...all of them. The ones who eventually became champions all have something in common. Like prize fighters who are knocked down, they get up off the canvas and back into the ring. No one ever succeeded by giving up. It's called paying dues. The judges are not incompetent, nor are they dishonest or unfair. All of them are experts of whose resumes you should be in awe. They have marched in and taught National Champions. Nor is the management of DCA arranged against any corps. They want you to succeed. You had the best corps in years and performed well. It was close, but a couple of your competitors edged ahead that afternoon. The professional response is to tip your hat to them and say, “Congratulations. We'll see you next year.” No one ever succeeded by quitting. (If Winston Churchill had done so in WWII, this letter would be written in German, and all drum corps would be carrying flags with swastikas on them.) If you really want to be worthy to carry on the tradition of the Orange and Blue, you must double down on your determination and return with enthusiasm this coming season. That is what we did back in the day when these things happened. That is why there is a Sunrisers corps for you to belong to now. That's where the DCA and National Championships came from. Your staff is replete with Hall of Fame members and champions (not everyone can say that). If you make a commitment, they will take you higher. You have made real progress. Seize that opportunity and take the next step. Fond regards, Frank Dorritie Sunrisers 1963-73 Instructor/Arranger: Sunrisers Garfield Cadets Blue Devils Santa Clara Vanguard Cavaliers Madison Scouts Bluecoats...etc Member: Sunrisers Hall of Fame Buglers Hall of Fame World Drum Corps Hall of Fame 8- time DCA I&E Champion

Hello all, On behalf of Minnesota Brass I am saddened to share the news of Frank Lozar's passing. Here is the news we shared on our website. Minnesota Brass mourns the passing of legendary Frank Lozar Frank “The Beard” Lozar, the heart and soul of Minnesota Brass, passed away in the early hours of September 7. He was 85. Frank was a legend in Minnesota drum corps history, performing with all incarnations of Minnesota Brass. His last year on the field with the corps was 2002, when he was 73. “We are deeply saddened by Frank’s passing,” said Eric Molho, executive director of Minnesota Brass. “Frank was an outstanding performer who gave tirelessly of himself to Minnesota Brass for decades. Our entire organization will miss him.” Born on July 4, 1929, the soprano player marched in competition nearly every year from 1947, when he first played with American Legion Post 248’s drum and bugle corps in Ely, Minn., until 2005, when he played with the Zuhrah Shrine corps. The only exceptions were two years when he served in the American Medical Corps. He moved from Ely to perform with Minnesota Brass and Hamm’s Indians. He served as the director of Minnesota Brass from 1963 to 1969. Since 1980, he had performed with both Minnesota Brass and Zuhrah Shrine. He served on the boards of both organizations and was a fundraising coordinator for several midwestern drum and bugle corps at various times. In 1969, Frank was awarded Minnesota Brass’ highest honor, the Brassy, a lifetime achievement award. He also was part of a group that was the first to initiate female members into the drum corps activity. At 70, he was recognized as the oldest competitor on the field at the championship tournaments of both Drum Corps Midwest (DCM) and Drum Corps Associates (DCA) in 1998. Named as an associate member of the World Drum Corps Hall of Fame in 2001, he received the World Drum Corps Hall of Fame Lifetime Achievement Award and full Hall of Fame status in 2005. Entertaining the passengers of long bus trips, Frank and the Gummers (so-called because no one else knew the words as well as Frank, so they just mouthed and hummed along) were a noted ensemble within the corps long before iPods and boom boxes were a staple. Legend has it that in 1970 he sang for 36 hours straight on a trip to Portland, Ore., without repeating a song. Frank assumed all roles and was a major financial contributor who helped perpetuate the organization. Without his efforts — along with so many others — Minnesota Brass would have never attained the level of success that it experiences today. Kurt Schiebel, a longtime member of Minnesota Brass who performed with Frank, reflected on the passing of a great mentor. “We always hear about drum corps moms, the glue that holds the activity together,” Kurt said. “Frank was a drum corps dad, offering support and strength to the youth in the line. He contributed not only financially to the corps, but offered assistance to young members, whether it was outright dues support, or that meal on the road for those of us in need.” Kurt added, “It is hard to believe there is a supporter out there who contributed more to perpetuate this organization. It is harder still to think of the activity with out him.” For All We Know.

I tried whole grain waffles this weeknd.

One article I read stated that the band was late due to traffic issues, and they verified with the Bucs to perform a cut-down show. They were later than normal in taking the field. Just seems like there were a series of unfortunate mishaps that resulted in the problem with the kicker, who admittedly handled it poorly on the spot, but at least has tried to reach out to apologize to the trombone player.

Good question and a keen eye/ear. I'm on brass staff there - particularly high brass - and BlueStainGlass pretty much summed it up. Obviously we initially wanted it to work out with the horn because we used it for about 95% of the season. However, logistically, it just didn't work out. If you noticed, the soloist are the ones carrying the couch over the heads while the guard is doing those awesome tosses at the end of the 2nd movement. Out of breath, they had about 5 seconds to switch cold horns and take off their shakos (we tried anticipating the cold horns by tuning them a bit sharper). In the end, the flugelhorn/mello sound was just undeniably great, as you can hear, and I think it was the right choice. My most sincere hats off to the soloists. They sounded great!

Like a Becktionary show? Will they play Bender the Broken Robot for the closer?

"May the Sunrisers come out next season bigger and stronger..." Indeed. That would enrich the drum corps landscape.

Personally, I am against any performance contributions provided outside the performing membership of the given corps. The corps itself is the competing unit -- not James Earl Jones, not Eminem, not David Bowie, Etta James, or Patsy Cline. The corps. While it could be argued that we allow the contributions of adults through the use of drill and musical arrangements which were created by adults, it is still, in the end, how successfully the corps members perform the show which they are given. If I am auditioning for entrance into a major school of music, it is a given that I would have studied under some exceptional teachers. However, whether or not I am ultimately chosen depends solely on my performance that day -- not on the credentials of those who have assisted me. In much the same way, I am opposed to the use of any amplification or recorded media. If a solo calls for a big sound, I feel that it is up to the performer to produce that sound, rather than producing a lesser quality sound which happens to be falsely enhanced through electronic means to the level which is desired. As far as pre-recorded examples (such as narrations), what we are hearing is not the result of what is being created at that minute, and on that day. If your narrator is suddenly hit with laryngitis? Well...sucks to be you. Maybe you should have prepared a back-up for that reality (I think in the theater world it is called an understudy). The pre-recording of any performance used for competition will most probably be done through many "takes," and enhanced through sound mixing. Again, it would not be the product of what is being produced at that moment -- the very ideal behind multiple person or multiple group competition in the first place. Competition is a medium of what is happening now...not based on the best example of a particular sound, effect, or contribution as performed, polished, and recorded days, weeks, or months ago. Somewhere along the line, I think we've lost sight of that simple premise.

I'd like to know more about why a (Box 5) score of 18.45 out of 20, while admittedly only 7th place among what is presumably the best marching percussion anywhere, is considered not "good". Not "great" perhaps, but not even "good"?

Troopers at Gaelic Park, Bronx, late 60's. It's dark on the street. I get there late, park on said street and walk toward the stadium entrance. All of a sudden, there it is, that famous truck with the "Circle the Wagons" cowboys and Indians painting on the side, with equipment scattered all over the sidewalk, curb, and what little grass there was to be found. Back of the truck was wide open and not a cowboy hat with a body under it in site. I look around, see all this potential pawn shop material just sitting there, with some locals planning their swoop. Finally, a few very naive Trooper teens come back by the truck, laughing and having a good old time. I motion to what looks like the oldest of the group, take him aside and give him a quick education on how long it would take for your corps to be without instruments, or truck. As surprised as he was, and with a brief look of shock, he instructed the others to go get the guy responsible for their equipment and thanked me. Now, while never being a member of the Boy Scouts, I'd sure like to think that was my good deed for the day.

I don't agree with the pushing and the incident, but why was the band on the field that long after their scheduled time anyway? For anyone writing emails and posting on the pages, please try to write well written and mature emails/posts! It will go a much longer way to getting a reply or any action.

http://www.nfl.com/videos/nfl-videos/0ap3000000390984/Not-giving-an-inch A lawsuit waiting to happen..

I've noticed news or discussions of Kilties on DCP has been virtually nonexistent for some time. I think this is both a "no good news so nothing to say" and the community view of "we don't really care so we won't comment on your post." Ed Mason: 2008-2013 would be the "Scott Stewart years" and those shows were decidedly a departure from earlier "Kiltie Senior" shows, and got us to 9th at DCA 2011 with a very unconventional show for Kilties. Though, I would argue that 2013 was not a true Scott Stewart show, as other fingers seemed to be working their way into the creative pie. (my view as non-member) Pre-Stewart, the Kiltie "formula" had been what we call a "bookend show" or "Oreo Cookie" with crispy Scottish/Celtic stuff on the front and end and a "let down the hair" jazz/rock "sugar" middle part and drum solo. Corpreps will illustrate that formula. There are some that would like to go back to that, but I think that would send you to the non-competitive/alumni universe. That formula does not fit contemporary competitive drum corps. Scott had a lot of great out-of-the-box ideas, and my favorite show (9th at DCA Finals in 2011) included the very (for Kilties) out-of-the-box "Interstellar Suite" closer. That show was designed as "Past-Present-Future" and I think made the widest range of both old- and new-school corps fans happy -- and gave the judges some good stuff to digest. It worked. It got us "solidly" into Finals with a 9th -- not a "by a hair" 10th. I also think the "Night at the Opera" show was a completely new and positive direction for Kilties. Scott Stewart was not involved with the 2014 Kilties; he left after the BOD election a year ago. I would suggest BOD members felt Scott's disease was getting the best of him and causing him difficulty as Executive Director/Program Coordinator. He was offered a less demanding "consultant" role by the BOD a year ago, but he decided not to be involved any longer. For (what seemed to me) to be a lack of a solid succession plan, 2014 was in a "pick up the pieces mode". I would throw HUGE PRAISE on the guy crowned/burdened as program coordinator, and the guy who stepped up as Director to make logistics work. In the last three weeks I talked to more than 20 members, staff, BOD and alumni about various topics/concerns and about running for either the vacant VP seat (the newly elected VP last year resigned over Scott's departure) or BOD at-large seats. EVERYBODY has strong opinions but NOBODY wants to ever say anything, openly. Typical. In the last 48 hours I posted comments on FB regarding my concerns with recruiting/branding/image, BOD transparency in the past, and the current cost of dues-to-run reason I would not run for a BOD position next weekend. The result so far has been a "lively" discussion about the identity and direction of the Kilties and ingrained roles of some individuals. It also, as predicted, brought very final resolution to a personal relationship. I wish the Kilties well in 2015. As much as I'd like to help and believe I can see a better path, I can't help fix anything as long as some personalities are in place.

If you polled the people auditioning, I doubt most of them would know what WGI group their instructors teach... but I might be wrong.

Crown traveling to Japan

Correct. Aungst is coming on as caption head. That means he's the guy in front of the kids. IMO that's going to be huge.

There's nothing in the world I would love more than for SCV to reboot their Phantom show. I really do believe this is the perfect time to do it. I will warn everyone though that if it happens June-August will be a non-stop tear fest for me. Being of the generation that is too young to have experienced 1989 this is something I've been desperately craving ever since I first saw the video for that show. They have the staff, they have the kids. It's time for them to really bring Lucas Oil down.

If there's every a sitcom (or dramedy - haven't figured that out - I think it's a show you have to take dramamine to watch) that's a "That 70s Show" about Drum Corps in the 60s, that scene is definitely going in... Now we have to cast the roles of Frank and "a certain young lady"... If you were a little more specific the casting would be easier... We can get Justin Bieber to play Frank, but who for the young lady? Miley?

Talent is there. No question. Desire to perform and excite is there. No question. Fans wanting Kilties to be great and to root for them. No question. My Mom wanting me to join and wear the kilt. Thinks I'd look manly as heck in it. Questions from me and I live 800 miles away, but it is my Mom, so, no really... no question. I'd like to see a program where they can have their cake and eat it too, in terms of being relevant in show design and also maintaining who they are as an organization. The Cabs are doing it, Sky is doing it, Sun is doing it. It can be done.

That's a great story about the equipment truck. I was attending Manhattan College at the time and living in an apartment on Greystone Avenue, overlooking Gaelic Park. A certain young lady and I watched most of the show from there. She wanted to see the Troopers "up close" (which may have been a euphemism for "you'e getting a bit too familiar"), so we walked down the hill and up to the roof of Manhattan's Engineering Building, directly across the street on the 50, and elevated higher than the GE box. It was 1968 and they were playing "Up, Up and Away" for concert. All the planets were aligned and It couldn't have been better.

Indeed. There's a reason they call their signature move The Viper and keep a razor-sharp edge on their cymbals. Anyway, agreed that no further ado is necessary since Gano later seemed to offer up a sincere and heartfelt apology: “I want to apologize to [the trombone player],” [Gano] said. “It’s just that is the only time we have to practice. But I never should have done that, and I feel bad about it.” Time to forgive Mr. Gano and move on or we're the ##########. Read more here: http://www.charlotteobserver.com/2014/09/07/5157955/carolina-panthers-graham-gano.html#storylink=cpy

Hypothetically...would someone lose a limb if they pushed one Vanguard's cymbals? I can only see that interaction ending very quickly...

This will mean good things for recruiting and retaining top-level players, as well. That has been a known issue in the last few years. Add to that the fact that Tom has a PROVEN record of cleaning the heck out of drumlines, and I'd say that the likelihood of them getting a LOT better in one year is high. That all being said, the battery executed at a much higher level in 2014 than they did in 2013, but they still didn't make much (if any) headway in numbers because the field was saturated with incredible drumming this past summer.

I always want to root for them. In 2005, after a drought since either 97 or 98, they were on their way to the night show when the unfortunate incident with Lothar happened. Since then, and god knows I've gotten flack for reviews I have done saying this, but show design has stagnated and/or regressed. They don't need to run around the field at 210 to improve, they need to be staged well for musical success, and play well, and they haven't. Since about 2009, show design seems to going more and more retro. it's like the organization can't make up it's mind....go more old school, or try to be more current. I don't know the inner workings of the corps, but one thing that's noticeable is the size of the corps is decreasing. By all rights they should have been A Class this year. I realize, like Bush did in their lean years, going that route to some is a step backwards. To that I say look at corps like Sky, Gold, etc over the years. Doing A while you reload is not a bad thing. but the design, the performance and the shrinking mount of bodies is not a good sign. the organization does need direction. Apparently on and off the field.

Yeah, think yer right Ray. Wonder if they knew there was a Ft. Apache in the Bronx?

From way back on page 9, in response to George Dixon: Makes total sense to me, and I don't see him joining without writing. That book will be stock Tom Aungst, which (and I know I will get blasted for even making this comparison), if you have seen his HS line lately, he has certainly not lost any touch in demand, creativity or TEACHING. There is a reason why there are usually 3-4 CURRENT members (of a line of roughly 13) that join G7 corps. Their 2012 line of 13 has had 5-6 members at Crown and the Cadets (including two center snares and a center tenor, all of which while still high school seniors). I was lucky enough to participate in that high school program. Tom was one of those educators that you will never forget. He doesn't work with the primary goal of finding results, he works with the primary goal of providing a great education (from grade 4 all the way through high school). The results naturally follow with him.

I'm guessing street crime in Casper WY wasn't a big issue in the 60s.

Cripes...I've seen more contact than that from a 3rd grade class playing "musical chairs."

My point is that Crown has had some very talented, big name people on their percussion staff over the years and they still struggle to get to a high level of performance. Percussion seems to be the weak link in Crown, that and visual sometimes, even with big name, talented people.

I hope this works out for them, Aungst I mean. The guy is absurdly talented, but so are many people that have been with Crown's percussion program over the years.

This can't possibly be a bad thing. Tom will obviously bring great things to that program. The question now is: how long before he is writing the battery book? And: does Neil Larrivee write Crown's pit book this coming year?

Here's my email...and I had to tone it down a bit from what I posted on Facebook. "Yeah...you're probably going to be getting a lot of these emails regarding this....deal with it. Seriously WHAT THE HELL were Gano and your entire coaching staff thinking? He couldn't do warmup kicks into the net on the sideline like normal? He has to get in the way of a group in the middle of their performance during THEIR time on the field? Never mind that Gano is DELIBERATELY KICKING THE BALL THROUGH A GROUP OF PEOPLE NOT WEARING PROTECTIVE HELMETS...people who ALSO cannot even raise their hands to protect themselves because they have musical instruments in their hands. Really...do you WANT the potential lawsuit if one of the band members gets a concussion or other injury because of his actions? A defensive lineman trying to block a kick at least has protective padding on. Not to mention that the lack of respect for anyone on the field who's NOT a direct part of the game. Re interfering with their performance...I know some people who would drop Gano in a second if he did that to them during THEIR performance...he'd probably like a color guard rifle to the knee about as much as a band member would like a football KICKED INTO HIS HEAD. Let's also talk about his pushing the one player...unbelievable douchbaggery. We've seen this kind of stuff before in the past...particularly this incident: http://www.scorpsboard.com/news/2001_news/DeKalbChronicle7-12-01.html Really, Panthers? REALLY? NONE of the coaching staff thought this was an insanely ####### STUPID idea?? Your guys are supposed to be professionals....how about acting like it?"

No surprise here, but well said. And to Larry Visconti, well done - no surprise there either.

Agree to disagree. Really beautiful music.

Pete consulted with the Freelancers and Sunrisers in the '80s and has been tour managing the Blue Devils since late in that decade. He has had some acting credits in the interim, on stage and TV. Last weekend, he was inducted into the World Drum Corps Hall of Fame.

YES, there's more you can do today,lighting,video screens, more electronics, more can probably be done with the theme All those extras are coming soon, I have absolutely no doubt of that. The magic trick was very cool at the time, EASY to figure out but nonetheless very cool for the time. A little creativeness in 2015 I'm sure there can be some cool effects, Not that I want to hear another rehash from SCV. I said it before , I would not be surprised to see a rehash of FIDDLER, going wayyyyyyyy back and a part of the SCV history. Who knows, I personally thought the Devils Staircase was so cool and different for them and never got the credit it deserved.

I believe it to be more likely that DCI and Music for All (BOA) will merge. They're both in Indy. I can even see PASIC joining the mix. There are just so many of the same people involved. But I'll bet WGI does not join.

I would like to hear Hawthorne play La Fiesta Mexicana.

I think every team should win the World Series every 100 years ... I heard that Bucky F'n Dent has been signed to play the lead role in #### Red Sox ... soon to be way off Broadway ... :-)

Film at 11

Am I in trouble? Usually people write stuff like that before I go

I want to say, first and foremost how happy I am that DCP has housed this great thread for many years now. Thank you so much for pretty much allowing me to run amok. Thank you for allowing me to kind of take care of things here. Very appreciated. When I felt the need of your help... I asked... and you were there. In all these years, I haven't asked much. But, when I did happen to ask... you were there. Thank you from the bottom of my heart!! I can't imagine how hard it is to be a moderator in a public forum. You can't possibly know all the history between folks. I know a lot but, not nearly enough. How could I? How could you? Too many people.. too many years.... too much has been said and done. This isn't a place for #####fests or grudgematches. Yeah, this is a competitive thing but, this isnt the place to voice about it. This thread is here to honor all. Share memories, speak of all the good in our Drum Corps History. Share laughter, and boast about instructors or any person that happened to be next to us in line.... that made a huge difference in our lives. Great place to relive, learn, love.... pass on history.... Example: maybe you have heard someone's name but never met them.... here's the place that you can "put a name to a face" Hope we can continue here....

Shouldn't that have been the Labour Day Parade. LOL Thanks Keith. Keep all the reminscing coming.

I think they should move very little, until they see the on field adjudicator cross onto the field, then they should all chase him/her like zombies. hahahaahah.

Thanks for the compliment. I think the uniforms do make us look younger, but make no mistake about it, they are not hand-me-downs from the BAC juniors. They are brand new, custom made for us.

I know everyone has heard this from me before, but I was really impressed with how well many of the corps played those craptastic bugles. Cabs Alumni, great work as always. You're one of my favs. BAC alumni. All i can say is word up! The young BAC uniforms looks fantastic, and the moves and playing were wicked. Really great job. I hope you all continue to do this year after year.

The ballads from 1991 SCV (Miss Siagon). The slow opera moment in 1991 PR. The last 2:30 of PR 2010.

I did see BD and agree they should have won but Im just not buying winning by 3 points. I think the number management was ridiculous.