BigW

AMEN.

The DCA side of this tends to be a tad more laid back. A lot of us personally know one another, which helps to a large extent or we both know someone well. I think Jim would agree on this point-- In Westshore, we had a LOT of Smartaxxes (incredibly talented ones but still...). Myself included, well... the whole Bari section. They're still the same folks now. If you take some of what's done and said with the grain of salt that that person is a lot like the one fool on Bus 2 BITD that drove you nuts but you put up with it because your corps didn't need the hole in the drill because you seal clubbed them with your baritone, you can deal with it a lot better. 🍺

Oh, the guard is wonderful. They know what they have to do to tell the story/sell the narrative of the show, and they're compelling as heck. This from the Clowny Baritone player looking for the next break on a hot day during rehearsal. When you're that good that a guy like me notices... 😸

Absolutely, and it's all subtle. The Percussion and Brass have a lot of dialogues and trade ideas so one doesn't end up stepping on the other. Great staging. When everything is all out, it's been layered out, everyone knows what they need to do to get the best result with balance. And staying on the topic..... they always have at least 35 people. Maybe the guard was big, maybe Percussion/Front Ensemble was big, but they have 35 people.

I've always felt when I watch the Govies perform that everyone's a hero and performs like it. All respect. And THAT in part is how 13 horns can make things happen.

The Govies have some insanely talented people in the corps in all sections. For brass, even though the parts are maybe marked I-II-III, I'm certain there's some leeway like Billy Strayhorn/Duke Ellington used where parts were written or changed with the individual musician in mind. Some of these corps you mention also seem to think one or two fantastic feature players can make or break things. The problem is, the Judge is evaluating the team effort, not just one or two incredible people having a great day. Everyone has to commit and perform. No slackers in the Govies. None.

I have a guess on which show. In theory, SDCA is supposed to provide opportunities, but they seem to have failed in many ways to get their news out and to provide enough shows. All I've heard of them was a couple of years ago through the Thunderbirds newsletter where there was a show they attended. Last I knew directly from them, they were rather petulant online that they were co-opted by Mini Corps and Soundsport. The lack of online savvy, presence, and the understanding of what that means has really hamstung them, IMHO. Word of mouth, posters at the local Get & Go, or a website or even FB page that's not kept updated means no one like me who might jump in a car and go to a show doesn't know what's happening until after the show if at all.

Heard that. Southern Illusion basically had to use diamond shaped formations thtoughout the program for that reason. A smart decision in that those shapes help to give a little more projection from the brass. and they needed all of that.

Very much agreed. There are more then a few HS programs I've seen under that 35 member limit who design and present far better than some of these smaller groups that showed up at DCA events. Food for though next- and I think Jeff would agree on this stuff, if not point out some unclear thing or flaw and I'll work it out. 😉 I want to make something very clear: There was a Garden State Corps, Southern Illusion, who presented and competed with @8 brass, @ 6 percussion and @ 8 guard. I got a good look at them @ 1995, and they were respectable given the small assets. Also, keep in mind Garden State was one of the last real vestiges of the Boys and Girls' Club corps that remained in urban areas. When they lost their way and figured they should be more like DCI, the circuit collapsed quickly, leaving Surf and the Raiders. It did a lot of good for kids who desperately needed positve structure, learning, and self-esteem in their lives. There, it was okay for Southern Illusion to exist. Everyone got it- it wasn't about trying to be DCI World Class. It was about helping kids who needed help! Expectations of DCA and the DCA audience are rather different. It's not a High School Band circuit where small units that might struggle and are encouraged and hopefully nutured and developed in the same way as Garden State. The emphasis on Education with the HS scene brings different expectations for groups like that- are the kids learning? Are they growing? Are they doing something positive? If the show happens to be a door-buster and knocks people back on their heels, it's an added plus, not the main objective. If 15 kids in a band, and I've seen one out of West Virginia that was quite good-- show that they're trying to be thoughtful musicians and perform within their limits, it's a win for all. Differrent expectations from the audience. It's not even Red Carpet, which was mainly there to give non-DCA corps enough performances and reps in front of friendly audiences so that the huge advantages DCA members had over non-members could be mitigated somewhat. For Westshore, the Thunderbirds some others- it did help, I believe. The DCA audience wants something they feel 'watchable'. It defines differently for most people but I would say they want more than they see from a HS contest. They expect a certain level of quality of performance, thoughtful and enjoyable design, and some excitement, not some snorefest that ambles and bumbles on to try and hit the rubrics for certain numbers. (I can think of one DCA corps that drove me insane because of this...) Warmed over HS shows or even shows/designs that would be barely medicore at a HS contest aren't well recieved by the fans nor judges. I've seen a few of those kinds of shows in DCA, and I'm not calling any corps out. Most readers know who they've been. and most of those corps have either have cleaned up their act and figured things out or they're inactive now. Or, know they have things to do and are working very hard and thoughfully to attain a respectable level of quality.

Taking it a step further as this keeps coming up every so often: It was clear over and over (AND OVER) again that smaller organizations weren't wanted by show hosts. It was very, very, (VERY) clear that many of them weren't as good as many of them believed they were, period. I sat at some shows and heard quite pointed and quite audible nasty audience comments. The comments made me cringe. I'm not even that mean to have said that stuff. And I have heckled over the years. Jeff wouldn't say stuff like that so the whole freakin' stadium heard it. You have a smaller group? Do indoor/WGI where you have a smaller performance space and aren't swallowed up by the vastness of the football field and have better acoustics for a smaller group. Go to Soundsport. Show up for DCA Minicorps if you think you can cut it against just about everyone I saw at Minis the last time I went. Their arrangements are wonderfully done and the brass players are very expierienced and skilled. Form a street band. People like them. Entertain in that way. Make people happy. Plenty of good ones out there. If you cen eventually get your 35 by hook or by crook using the rules as laid out to your advantage, go DCA Class A. Good luck there. The finalists there are quite capable, with great design, a lot of talent and top end instruction. Showing up at A contrary to a lot of people's thoughts and beliefs guarantees you nothing unless there are 4 or less competitors. My tuppence. Some people keep kvetching, believeing their 10 brass, 6 drummers, a 7th grader on a xylophone, and 2 color guard who are the big sisters of the kid on the Xylo are the bestest thing since the invention of the wheel, sliced bread and Dream Whip. For indoor... maybe. For Minis and Soundport, maybe. A street band, yeah, maybe. Not at a DCA contest outdoors. Not at all.

Stroopwafel!

Truth. We love to sling it if it makes people laugh. 😸

Apologies for the hijack, but yeah, I seriously, seriously, miss Bruce. Underestimated his own ability, a friend to all. When i think of him, I'm happy to have hung with him and been a friend to him, and sad he's gone. very, very sad.

We were an immensely talented group of semi-dysfunctional misfits that at a couple of points had the best barelytone section in DCA bar none and was a good as a few of the low ender DCI sections. Then again, Baritone sections in that era had a low bar to jump for exellence. I'd say all of us rubbed off on one another in various ways... literally and figuratively. 🍺

Rest Assured, From 1975ish when Jim started to 1984 when we both retired from Westshore, we didn't need Bill O'Reilly to be pithy. In fact I will say all of our Baritone players in that time frame would be pithy enough to claim we influenced Bill, not the other way around. 😸

And THAT is why most serious organizations hire grant writing experts or have someone exteremely capable in that specialty on board in another position. School District I went to had just that individual, and they kept her on as a consultant after retirement until she passed because she was that valuable to the District as a Grant Writer. Reading between the lines, if you're good at Grant Writing, you can easily pick your job. Kind of like being an Actuary.

The only way I could think this would be a negative is if they use the money to get personal company Lamborghini Aventadors upholstered with beige Cinghiale Wild Boar hides (I kid you not, seen a Miura with the wild boar hides, very nifty) or some other ridiculous misuse.

While the grant may not be to cover keeping DCI Employees employed, the money from this would free up other money to make sure people are working. That's a good thing. I think the best question may be, how will the money be spent? I can think of a lot of great ways this money could be spent. My general thoughts are that if the money is spent developing young people from all walks of life and advancing performance arts, I'd be fine with it. Jim, I have no pithy comments here. I have to wait for the right subject to have one. 🍺

Good to hear! Me-- Got a new position at work as a Hazmat Acceptance Auditor. Corps experience actually helps. It's a rather finicky job with a lot of details. Perfect for a musician

Csareful there, there are more than a few school boards looking to save money by cutting instrumental music for any possible reason.

Been thinking of you! How have you been!? I was concerned.

Was told he was there at some point by a member.

I'd say the team of Larry Hershman and Chuck Saia at Westshore were real positives for me. Work HARD. Don't be afraid to play hard either as long as it doesn't get too far. Don't dare take yourself too seriously, you'll look like a jerk. Bring in the great people you need to cultivate a culture of excellence. Make sure the corps is stable finanically. Be a gracious loser, and a gracious winner. Maybe be more of a gracious winner and be appreciative and respectful. I could go on. So many positive names listed, I knew a few of them. Heard many great things about Carmen Cluna when he was with St. Ignatius. I go to know Carmen Cirlincione, and as I knew him more over time with some of his work with the Spirit of Newark helping those kids grow as adults and musicians... he deserves a mention here as well.

Interesting, Mike. The thing is, if it were a legit reason, how far does the district have to go in deliniating the reason? Is it as simple as "Big W didn't leave West Barndoor HS for ANYTHING to do with sexual misconduct", or does it have to be more specific- "We got a new Director that brought in his own people..." "Big W didn't like driving 50 miles one way to rehearsal..."