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  1. Thanks for considering reading this wall of text. tl;dr No there are no conspiracies. There is virtually no herd mentality on the national level. Money nor reputation matters. Become a judge if you aren't already. Also--thank you if you're a fan of any of the pageantry activities. Not meant to be a dissertation, but a reflection of my many years of experience as a judge on the field and indoor. No I am not a DCI judge but I have been judging with DCI, WGI, and BOA national judges and have had many discussions with said men and women who are actively making these tough decisions. There appear to be several of us on here willing to share information so any input is very much appreciated. I am not speaking for every judge or even any group of judges but SPECIFICALLY to my experience. I'll be available for follow-up questions and concerns for a few days until this account and thread dies--if that's the case. ------------- 1) Herd Mentality Does not exist barring very few situations*. We judge the sheets. Particular to our caption, a unit can hit the sheets according to our eyeballs and our ears or it cannot. Sometimes there are difficult decisions that we have to make on the spot. We all see different things even within the same caption. Some judges are good enough to judge multiple captions. Ranks and ratings change for the same judge because they're judging a new caption. Also, when panels change, numbers will change as you have probably experienced in the past. It's absolutely unavoidable. Please also remember that there are separate numbers in what we see the designers intended to do and what the performers executed on that particular day/evening; i.e. vocabulary vs. excellence. It's the LEFT side and the RIGHT side respectively. It's not rocket science. We all have to trial judge for this and prove we can focus on our own caption and defend our numbers at critique and thereafter. *Note: Interestingly enough, every few shows a newer judge or trial judge will ask where I put a unit at any given point. I give them the neighborhood, e.g. high box 3, mid box 4, etc. but I'm very averse to providing an actual number as is anyone I have spoken with. Remember that we have fans only a few feet away from us in virtually every direction that can hear our conversations and are probably recording us on their smartphones. Why would we be idiots and mimic each other's scores? That's the dumbest thing I've ever heard. These days we can typically change our numbers for all units at the end of a round due to the mechanics of Competition Suite. It's a magical thing and it makes numbers management so much easier and more equitable. 2) Money We get a few hundred bucks or maybe a little more. It's not much. Expenses are paid if we are lucky. Rumors have it that nationals is just about the same or a little bit more but not much. This is a NON PROFIT activity. Enough said. We mostly do this because we think we can do it better than others and provide better input. We're not in this for the money--heck, we may be better off bartending for an evening. We do get the best view in the venue. That's why I do it--along with providing input to groups who actually give a **** as to improving their units. Most of us want the activity to grow and performers to get better; however, some judges are jerks who just want to criticize and call out things that are wrong because the units are not doing what they did 5, 10, or 50 years ago. It oftentimes gets tiresome in the judge's room and occasionally pisses me off. That's the main frustration I've had. We tend to argue when I encounter a judge who made a number I sorely disagreed with in a caption I've judged; there's a 50/50 chance I'll win and they'll rethink their numbers next time around if they're given the opportunity. We're otherwise complaining as to why we got a baked potato for a "meal." 3) Reputation This gets a little complicated. Many judges have obligations outside of judging. For example, several have contracts with percussion, winter guards, winds, marching bands, drill design, you name it. However, from my experience, it really doesn't matter. Our reputation is founded on the basis that we put down a number, record our commentary, and defend every ounce of it. We sometimes get stuck with a number we put down during an earlier part of the season and have to really back up any changes later in the season. As long as we reflect our APPROPRIATE number based on the sheet of our particular caption during that specific performance, it doesn't matter if we give 3rd place to a 12th place unit or vice versa. I've done it many times, "called" many shows, and still get asked to judge again. Judge's commentary is becoming more and more public, so I make sure to talk about the stuff I want my dear mother to hear as well as the unit staff and most importantly the performing members. When I hear from either the Chief Judge or a director that they played my commentary to their students, it means the world to me. Knowing they sacrificed several minutes of their valuable rehearsal time to listen to my exhausted hoarse voice makes my day. 4) Critique Sometimes a show will have a requirement for the judges to participate in critique sessions with the units. We may also get emails, phone calls, or texts about why a unit was ranked and rated as they were. This can get stressful. This is why we take notes. I keep my notes for at least 3 years. Every show is different. Some times I'll place a unit higher than another, and I take notes as to why (even though it's inappropriate to talk about other units during critique). Focus on your own show on your own caption and unit I always say. However, it's good for me to back up to the Chief Judge why I flip-flopped or made an uncanny or unpopular choice. I do it all the time. Most times people get it--they watch their competitors and see why they have fallen (or risen) in my particular caption. Critique allows us to gather input from the units and provide feedback beyond our recorded commentary. Heck I've unintentionally made a former colleague cry during critique. I've also had a situation when we had to get the Chief Judge to kick out an overdramatic irate director during critique. What really pisses us off is when someone only rants about their score without having listened to the commentary. All I can reference is my notes at that point. The commentary is not a part of my records but a part of yours. Do your homework. Listen to the commentary. 5) State of the Activity Plan on being angered! Many current judges should consider retiring. The activity has changed considerably in the past decade--let alone the past several decades--and corps art is not being recognized properly. The newer judges, about a third of any panel; if we're lucky, have still been removed from the activity for a decade or more. Yes, this is a traditional activity and that I quite understand. Furthermore, most design and tech staff who have been a part of the top competing units are of a separate generation with separate visions working alongside older generations with progressive acuities. There's a lot of subjectivity with the sheets and what is put on the field or floor. A few older judges see this. Most, however, don't. This is, in my honest opinion, the main disconnect between the overall numbers and what the fans want to see rewarded. So where is the activity heading? Which leads me to this: 6) Next Steps Trial judge. Regardless of your age. We need more judges. Many of you are analytical critical jerks and we really could use your help. Whether it's percussion, guard, winds, visual, brass, whatever. We need new blood in every activity. Please consider contacting a local circuit and start trialing. Before you know it, you may be judging state and regional championships and knocking on DCI, BOA, or WGI's doors. Just show up. That's half the battle. You're not running for office--you're helping develop youth and art. We just need new people with deductive mindsets willing to put in their experience and research to current events on the field and the floor. We're no better than you. The activity is changing too fast for most of us. Regardless, please stay a supporting member or fan of the marching & pageantry arts no matter what. The common sports have enough fans. Show up to all sorts of our musical and "artsy" competitions just because, well, reasons. Thank you. Edit: Changed title of thread. Edit: Here's a copy of the 2012 DCI sheets thanks to @Jeff Ream
    8 points
  2. OK. If you have marching experience that is a definite plus. I can't speak to the transition from woodwind to brass, but it really comes down to how much time and effort you are willing to invest in getting your brass chops up to par. 4 years of marching band experience was enough to get me into a world class corps as far as marching goes, 6 years of musical background is quite extensive at your age and is also a major plus. You already understand ensemble requirements and how to read music etc.... As someone else suggested, Open class might be a good starting point. It will get you needed experience and help you develop the stamina that is needed during the drum corps season as well as help you gauge how much progress you need to make. I marched a 20th place corps and a top 3 corps, and I can tell you that aside from the talent and experience level, both took the same level of commitment, desire, and effort. They also were equally as beneficial to me personally in shaping me for future success (which I believe is the most valuable commodity that drum corps offers to most participants.) Just get into the activity. Once you do, you can determine what your ultimate goals are. You may decide to try to move up to a finalist level corps or may find everything you are looking for where you started.
    5 points
  3. I simply do NOT understand why someone who clearly hates modern drum corps so much even logs on to DCP. Seriously, take your bitter self and go find something else to do with your time, dude! I may be a Boston homer..and I may spar with or discuss issues with someone from Cadets or Crown or Bloo, but at least we all love this activity and we also all support SOMEBODY! Perhaps you'd be happier if you just didn't come on here anymore. I know we would.
    4 points
  4. I first discovered drum corps in the 70’s, became a fan, then moved to Arizona and lost contact with the art form until I rediscovered it in 2016, so I can only compare the two seasons. Last year, by the time I had seen corps’ shows 4 or 5 times, there were quite a few shows that I wasn’t that interested in watching again until finals. This year, I was so pleased with the greatness coming out of corps whose 2016 shows were unremarkable to me. Remember that I only have 2 seasons to compare and in 2016 I couldn’t tell you anything about the shows of Crossmen, Blue Knights, Blue Stars, Colts and Boston Crusaders. This season, I remember all their shows and especially enjoyed Crossmen and Blue Knights out of that group. Across the board, starting with Southwind in Open Class, there was some pretty amazing musicianship being displayed. Open Class was a real surprise and quite a treat – nothing 2nd class going on there especially in the top 10 corps. And as a new drum corps fan, I didn’t really go into this season with a World Class favorite who I wanted to win, so I could just sit back and enjoy the fantastic shows. To give it to all you vets on here who want to go back to what was great 20 years ago, I have to admit that when Blue Devils came out with the huge full-across-the-field power line and the guard spinning all their rifles in full-body unison, it reminded me of the first competition I saw in the 70’s in the Philadelphia area – it was an adrenaline rush. And when Crown opened up with that unison trumpet opener of Bach’s Little Fugue and the rest of the horns came in so cleanly, so beautifully, with the guards pulling out their best ballet moves, I was ecstatic. So much beautiful music, so much entrancing drill, just great entertainment from corps after corps after corps. I was surprised by the egregious over use of amplification and I hope that issue will be addressed next season. I enjoyed the judicious use of samples and effects and also enjoyed several of the vocalists – but not all of them. Another thing that I hope is addressed. But it was not enough of a drag to disappoint me, just reminded me that while 2017 was wonderful, maybe 2018 will be even more so. Kudos and blessings to everyone who participated in a corps this season. You made me happy.
    4 points
  5. Liahona, I recall when MW talked at the 75th about "Building a Champion". When word got out, there was a good deal of snickering here on DCP. Back this past spring just prior to move-in, there was another round of snickering. "The new staff won't make a difference"....."Where will they get the mm talent"...."They MIGHT improve by a few placements, but that's it" etc etc etc Some people might ask "What brought all this on?" The G7 proposal, the exclusion of Boston when they actually made the TOC cut, the arrogance of a handful of directors who said (in writing) their corps "were the show" and others "brought no value to the activity". Now combine that with a 77 year old organization which should have completely disbanded at least 4 times in its history but refused to with a 50 member BOD, many of whom survived those years and most of whom went from being teenaged BAC members to extremely successful business leaders and professionals and there you have it. Some look at the fire at the end of Boston's show as a cool effect. I see it as an allegory for what has started and what is to come for the Boston Crusaders. Colin McNutt is right...BAC IS striving to do everything better than anyone else, both on and off the field. Boston NEVER thought of themselves as being subpar, even when they had 19 horns. Now, the chickens are coming home to roost.
    4 points
  6. Anna, It's great that you are interested in marching drum corps. I assume you do participate in your school marching and concert programs. I would urge you to try to get private lessons for your junior and senior years. I would also recommend that you consider attending the Blue Way Experience camp that the Bluecoats hold each June. It is a two day event that allows you to experience working with some of the Bluecoats instructors and, part of the time, get to play along with members of the corps. The 2018 Blue Way would be at the end of your junior year and would give you a great idea of what you might need to work on your senior year. I would also urge you to attend an audition camp this winter. There is MUCH more to these camps than just the audition. You would have a weekend to be taught by some great instructors, be with other like minded young people, and get to see first hand what it takes. The Ohio audition camp will be November 24-26. (additional info on web site) Obviously making the Bluecoats is not easy, but what a wonderful goal to have. You do have something in common with EVERY member of the Bluecoats, and with every member of a DCI drum corps for that matter, and that is at one time they all started their drum corps adventure with a DREAM and a GOAL. Good luck to you and go for it!
    4 points
  7. Thanks buddy. I posted this because it breaks my heart reading thread after thread about judging conspiracy madness when I've had to deal with the same kind of personal threats even on a local (circuit) level for years. We're in this for the activity and the growth of the performers.
    3 points
  8. My signature says it all but I'll post anyway and add a comment or two. Metamorph: Come on. If this show didn't paste your ears and face to the wall behind you, you have no pulse. Wicked Games: Boston came out with such a strong show this year. Just outstanding. Emotionally wrenching. Let's not forget that the story was about a 'witch hunt' and the falsely accused. A very brave subject matter, subject to criticism and they hit it out of the park. The Faithful, the Fallen, the Forgiven: This show grew on me all season and then in prelims I absolutely fell in love with it. The vocal ensemble got SO tight and added a layer of richness and sophistication, both musically and visually. Loved it, Cadets. Nicely done. Jagged Line: This show was the coolest and hippest. Nuff said. Inside the Ink: If I could pick a show of all time that I loved the overall look of - it just might be this one. Slick. No clutter. Outstanding props. Sound of Silence knocked me out. Gorgeous.
    3 points
  9. Regarding 2017, Flo was imperfect, but it was great to have something available to watch corps and competitions throughout the summer. It made a huge difference toward helping me feel engaged with the activity.
    3 points
  10. I'm a pretty nice person but after over a year on here, someone has made it to ignored user.
    3 points
  11. I took it with a grain of onion salt, especially considering the nature of a publication with a similarly themed name.
    3 points
  12. I don't really know what changed, and I've always found post-2000 drum corps mostly incredible (even if there's stuff I've hated), but four days after finals I can safely say 2017 has been my favorite year in a while from an entertainment standpoint. Some observations: Designs and concepts have been largely mature, and pieced together maturely, rather than insipidly as has happened in the past. Gone are the preachy, one-dimensional, kindergartener-esque themes I remember from some shows not too long ago. Enigma, Wicked Games, It Is and Ouroborous were all refined themes with integrity of meaning that could stand up to artistic scrutiny. There is even flexibility for essentially "themeless" drum corps shows like Jagged Line, diversity that should be more than welcome again. The closest to missing the mark were Phantom Regiment (and only because of the repeated voiceover and its implementation) and perhaps Blue Stars, in its cliche and limited depth. Musical design is more mature as well, flows much better and seems much more listenable. Source music across the board was the most substantial as I can remember it being recently, and same goes with the integrity of the arrangements. Corps are doing a much better job presenting music, rather than "using" it to support a theme, and there is more seamlessness and less chop-and-bop as a result. One corps even played a good minute or two of music with almost identical arrangements as their 1983 and 1990 shows, which is the true test. I'm not really sure what changed, since arrangers remain mostly the same, but I do feel the pendulum has swung back in the right direction. Hornlines are starting the emphasize volume again. I'm talking sustained, full-out ensemble moments featured meaningfully throughout every show as a default mode of musical presentation, reminiscent of the characteristic shows of the '90s. Tone quality hasn't been sacrificed per se, but 15 years after Frameworks, corps don't seem to be focusing on it at the expense of volume anymore. Even younger corps like the Crossmen, who would sound tiny (think their 2008 Planets show) as a result of pedagogical concerns, sounded big this year. Could just be that I was sitting on the 50 on row 9, but there a ton of moments I can remember of just pure sustained power, or HUGE successive stabs of brass and percussion that were actually somewhat visceral, especially from corps like Boston, Bluecoats, Crown and SCV. Possibly the season during wish I barely even wished for what I was hearing to be played on G bugles, which was surprising to me. Pacing of when the full ensemble plays, and thus of shows in generally musically, is night and day even from last year. In 2016 virtually every show would start with a full corps buildup to a hit, followed by *only the percussion* playing for the next minute or two. It would basically set the stage for the brass not really being an integral part of the show. This year seemed to eschew that construction completely. Not sure how this changed so quickly, and this year could've been a fluke. (SCV still had issues with this this year, my literal only gripe about this show.) At many of the outdoor venues I was at, especially Chester, amplification was overbearing. But being in Lucas Oil for three days made it clear that the balance and volume are intended for the acoustics of that stadium. Somehow the amplified elements seems less piercing, and more willing to blend. Even the thunderous goo wasn't as egregious as I can remember in recent years when I sat even higher up. What other observations have you noticed after this season, and what have you noticed about these in particular?
    2 points
  13. I wonder if people said that about Carolina Crown 30 years ago.
    2 points
  14. I will say that in an activity this unique and this tight knit, there is an incredible magnetic draw toward compliance with the expected norm. When a dozen at most corps directors determine 100% of the judging parameters for the entire activity, and also hire the judges, let's just say the obvious: you get the activity they want. There is one and only one dominant organization in dci. It's not even close. No one can afford to be "that guy" in an organization this lopsided.
    2 points
  15. I agree!! This is why I've become a judge for my state marching band association this yr. and possible starting my winterguard circuit training soon! Having almost 20yrs of experience it's time for more people to step up and take on the task of becoming judges! Most people don't realize new blood is always welcome and encouraged, just reach out to your circuits! You as an educator will never know your potential in the reigns of judging until you try.
    2 points
  16. Pure entertainment value: 1. Metamorph 2. Jagged Line 3. Ouroboros 4. Men Are From Mars 5. It Is 6. i 7. Wicked Games 8. Star Crossed 9. Inside the Ink 10. By A Hare 11. Enigma 12. The Faithful, The Fallen, The Forgiven
    2 points
  17. Nice to see an OP with really positive things to say about the activity and though I concur with more of it than not, I have to vehemently disagree with the even the thunderous goo wasn't as egregious as I can remember in recent years part. IMO it was worse than ever this year and nowhere was it more obvious to me than during prelims at the theater. And though not specifically a thunderous goo issue, I also attended one live show in which the top placing corps pinned my ears to the wall with their woofers and tweeters. I want to be plastered with glorious brass blasts, not a sound system. If corps can get the goo, amplification & electronics under control, the activity is greater than ever.
    2 points
  18. This is ironic on so many levels, it's actually kinda funny
    2 points
  19. 2 points
  20. Jim is there now. I yelled at him yesterday. He has promised to behave but I've heard that before...
    2 points
  21. 1. SCV 2. Bluecoats 3. Carolina Crown 4. Blue Stars 5, BAC 6. BK 7. Phantom Regiment 8. Crossmen 9. Cadets 10. Mandarins 11. Academy 12. Troopers
    2 points
  22. Boston is very welcoming to those who want to attend their audition camps. Just identify yourself at the front desk upon entry, agree to take no pictures/ videos, and you should be able to enjoy your visit, Hook'emCavies.
    2 points
  23. borrowing this from reddit - funny stuff https://vid.me/zzIkp
    2 points
  24. I realize PA might be too far but FYI Cadets have announced a set of experience camps in November designed just for high school kids wanting to get a taste of drum corps. Look at the yea.org website for more information
    2 points
  25. I'm a former brass mm (St. Rocco's, Brooklyn and N.Y. Skyliners)..love the Cadets!..BUT with the drum line the cadets had everyone expected higher placement..Watching the 2017 show(finals) I realized how little the drumline played for the first 3 min. or so of their program(not including the battery)..perhaps a more significant role, early on, in 2018 would give judges a greater opportunity to appreciate their efforts..I know "Simple Song" does not require BD style OTL drumming, but Bernstein in 2018 could provide the drum line an opportunity to really shine..particularly if they do "Waterfront"..JMO
    2 points
  26. Anna, some may not agree with me but if the money is available to audition for the bluecoats then absolutely do it. My son tried last year and the experience and feed back from everyone at the audition camp was unbelievable. After you audition they will either offer you a contract give you a call back or explain that your not quite ready and then they will tell you exactly what you need to work on for future auditions. The staff as well as the other people trying out are phenomenal and extremely encouraging I also agree with the blue way camp in June if you not on a corp for the summer. Good luck and confidence is key they will understand nervousness the more you relax the better the experience will be.
    2 points
  27. I'm going to assume Legends is too far for you as well. Take a look at some WGI winds groups as well. I know Rhythm X has a great program but I have no idea what they do for auditions.
    2 points
  28. To me either BD or Crown was fine winning brass. Both were fabulous lines and the only two really in contention for the award. This particular year I do think Blue Devils' demand in range, meter, rhythmic variance, chromatic structure, section exposure was likely a bit more. But both were fantastic.
    2 points
  29. It's now been 40 years since I received the phone call in the winter of 1977 to join the Cadets' staff. Paul was one of the first alums and instructors to welcome me. While some alums were wary of outsiders due to the church issue and the flailing of Northern NJ corps then (Muchachos, Bridgemen,) Paul immediately made me feel at home. His ability to adjust, fulfill, and to remain calm under difficult stress was a quality I greatly admired and envied. He adjusted easily to working through 3 different administrations in my time (Cinzio, Santo, Hopkins.) He could as easily be found under the buses fixing some mechanical problem as well as being out on the field as a marching tech helping teach and perfect a Zingali drill. He learned to speak Philadelphian (Hopkins), Bahstahnian (Zingali, Twiggs, Sylvester, Strachan,) New Yorkese (me, the Bordens, the new recruits) and the common touch for the volunteers as well as his native Joisey accent. Because he was an alum, he was able to bridge the sentiments of the HNC and Garfield alumni still wondering about the new drum corps of the 1980's while maintaining the utmost respect from the new mms. He taught by example what it meant to be a Cadet. long time employee of the NJ Transit system, he bridged drivers and mechanics with the demands of administration and drum corps tour. He'd as quickly man the wheel of those buses and trucks as he would paint the logos and signage for the various vehicles and corps' equipment. He and Janice so often arrived with a bowl of fresh made truly Italian meatballs from his mother. And only God knows how many pounds of the food the corps ate Paul chauffeured from grocery store to camp site to allow other volunteers to get some well needed rest. His death seems so untimely just like Paul Robertson's tragic murder this summer in Cleveland. Both were quiet, effective gentlemen (but never let them hear you saying that about them.) They were the quiet doers without whom the corps would never have made it these past forty years. I can't say enough good things about the two of them. I already imagine them planning how to tweak the squeaks on the Pearly Gates and never looking for a moment's recognition for doing so. God grant them their well earned rest and peace. May the rest of us be as great in character as Paul D. and Paul Robertson have shown us.
    2 points
  30. They had a hornline and drumline? All I could pay attention was the GUARD!!! Don't worry I'll go to confession for this comment this evening.
    2 points
  31. Vanguard, Boston, Mandarins, Blue Devils, Cavaliers, BK and Madison, no particular order But there isn't one show this season that I think is mediocre, boring, uninteresting, or not good. They're like children, I appreciate them all in one way at least
    2 points
  32. As someone who grew up on a music for the sake of music type of attitude, I've found that the drum corps I fell in love with when I was in high school isn't the same as today. I think drum corps today is very entertaining. But with weird arrangements of music and lots and lots of speakers on the field, I'm not quite into it. I just get really turned off from it whenever my seat rattles from the sheer sound of not the horn line, but the bass in the speakers. It just doesn't feel as authentic. This year especially was not in my personal taste. I have strong preferences to shows like Finis. But I can definitely appreciate what's happening. Drum corps is growing, the activity has changed so much even in the past five years.
    1 point
  33. What I think he is suggesting is that there is a pretty big split in the judging community, between those who want the old school and those who want the new school. The new school is steeped in WGI and not necessarily focused on live music performance. The results may be consistent between them, but how they get there is very different. I would expect that the judges have the same sort of arguments and disagreements we have here. In the end, like it or not, none of the judges determine what the direction of the activity should be. The corps directors do. And judges who disagree with their decisions will either judge according to the corps directors' desires, or their own personal beliefs. If the latter happens, you can bet they won't be judging much longer. I would bet there are a whole lot of very experienced judges who do not agree with the way they are expected to judge playing member body movements. They may give in and judge according to how the big six directors tell them to judge, but that doesn't mean there isn't a lot of disagreement away from the earshot of those directors.
    1 point
  34. Judging is a subjective activity. It's not addition and subtraction. The sheets exist to create a wanted outcome. When six corps determine the desired outcome, and agree that the sheets should bring that outcome to bear, who is stupid enough to judge outside of their expectations? You can "back it up" all day long but the corps directors can back it up by hiring someone else who "gets it."
    1 point
  35. BD: 2017 SCV: 2016 (by far) Crown: 2016 (by far) Cavaliers: 2017 (by far) Bluecoats: 2017 Boston Crusaders: 2017 Cadets: 2016... though neither were my cup of tea Blue Knights: 2016 Phantom: 2017 Blue Stars: 2017 Crossmen: 2016 The Academy: 2016 (by far) Madison Scouts: 2016 7-6 in favor of 2016. Oddly enough, I found 2017 to be the more enjoyable year overall.
    1 point
  36. I guess my question when it comes to herd mentality is this: I have seen in certain captions a change in placement on finals night only, when the other corps was consistently winning all season including the previous 2 nights. I believe at the top levels of the activity the level of performance is so high, there is not much of a difference in consistency. For example SCV was winning the guard caption consistently. I did not go that far back, but at least the last 5 head to head match ups had them ahead by as little as .15 and as much as .3. How come all of a sudden BD wins guard on finals night by .3.....an entire half point change from one night to the next. I find it hard to believe that sort of change in performance could have happened. Same thing happened with a .4 change in vis proficiency. Could there be some mentality that will place a corps that was going to win anyway over another corps just because they are going to win even though the other corps was consistently better?
    1 point
  37. Like you I am not a DCI judge but I am a marching arts judge; and I am not part of BD. While I appreciate your response, it did not directly address my question. If many 'older' DCI judges should retire because they are supposedly 'out of touch' with change, why is it that they all, no matter age, no matter experience, placed a progressive BD design first and undefeated all season? I mean for your primise to be true, the older judges should have given vastly different lower scores to BD than the younger more 'with it' judges. So please reconcile those facts with your #5 primise.
    1 point
  38. 1 point
  39. Firing the admin would be a huge mistake as they have been making sound decisions financially and organizationally that will help insure the future stability and continuity of the organization. Not to mention building a culture of sound leadership and excellence for the young men that will impact their lives and the lives of those around them for decades to come. Competitive success is great, but I've seen FAR too many Corps chase it like it's the most important thing (which is laughable in a subjective art form).....to their own peril. Take Magic of Orlando in 2002. They went and bought the best staff for a short-sighted goal of shooting for the top....they didn't have a solid structure or long-term plan, and a few years later, they were GONE. Never to come back. I would rather have the Scouts stay around where they are (or inch forward) while building a much stronger financial foundation....and when they are ready (and ONLY when they are ready), make a big move like Boston did.
    1 point
  40. They are definitely out of my range at the moment, but they are the only corp that is close enough to me that I could get my parents to agree to let me go to the auditions. Right now I am a junior in high school. Before I switched to trumpet I had been playing clarinet for 6 years.
    1 point
  41. The Sox can request a name change by the city. The city can only change the name. The new name suggestion is Big Papi Way. I'm ok with the Morse code drop on the scoreboard. Maybe change that to: ••|•|•••
    1 point
  42. Totally agree with ya. 2016 had the pure elegance and class of SCV with actual melodies that could be easily followed and enjoyed while this year it was more of a powerful and aggressive SCV with many more technical aspects to the show. Im personally a fan of the former style, though both have merit
    1 point
  43. Just 3 months and sound like average HS player on trumpet...that's amazing! Took me a few years! Follow your dreams!
    1 point
  44. if there security is anything like the guy taken out by the Troopers staffer, you'll be fine
    1 point
  45. They need to stop it with the whole "overcoming some abstract impediment to happiness" theme we have seen now for the last few years. (That said, I'm still not sure what in the world the show was about this year, but it seemed like some sort of freedom from fantasy? Don't know.) Get back to playing beautiful music with a powerful hornline that turns on the waterworks in the stands. There are few corps who can do that--you can. So do it.
    1 point
  46. Ahh. I can see the off-season has more than kicked off in its full and......interesting glory.
    1 point
  47. In order to understand the "Enigma" of these "Wicked Games", look past our "Star Crossed" "Ouroboros" to the "Men from Mars". They are the "Faithful, The Fallen and The Forgiven" and have "Metamorphed" into "Phantasms" and crossed "The Jagged Line". Who will win? "It Is" in the "I" of "The Last Man Standing" Enjoy the shows everyone. Best day of the year is here!
    1 point
  48. 1993 Star of Indiana - They changed the game in design. Demonstrated that you can bring abstract and minimalism to the field successfully. Other corps soon follow and temporarily, in my opinion, made drum corps less entertaining in the mid to late 90's. Definitely a pandora box opener. In the end, it was for the better. Some may argue it wasn't. 2016 Bluecoats - I know it's premature, but time will tell what effect this show will have on the activity. Especially because it brought them a title. Will traditional uniforms go away or become optional? Will designers change the front ensemble set up? Also, I would argue, in terms of electronics, they have push the envelope and been creative with its use the last 3 seasons.
    1 point
  49. 1984 when the tick system went away. With ticks, the casual fan could tell whether a corps was having a good night or not. But from 84 on it was left in the hands of judges who supposedly knew more than the fans, and over time evolved into what we have today where there is little, if any drama as to who will win, who will & won't make finals, etc. There are exceptions, like 2008, but for most part the final placements are pretty much set by the end of the first regional
    1 point
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