BigW

Maybe if I had/could afford cable and worked 9-5 hours I'd take the time to watch. Haven;t had cable for 17+ years now. And no desire to get it. Sorry- no can do. And when I do watch any TV, it's mainly to catch up on Auto Racing, where I can get plenty of drama. I HAVE seen him show the love to Mister Methane, though. Hard for me to really totslly back the turn-around with his given track record of his proclivities for decades and his disdain for authority- Obviously, money talks.

Yes. One could fairly say they were a bit too "careful" last year. Sometimes, you have a group that's capable of more than was planned for, and you end up scrambling to enhance content to show that fact. I think this year they're showing there's some talent and ability there. If the panels really listen to it and get their heads around it, I think they'll hear there's some great stuff in the package this year.

Not the kind of drama they want. I know about the young man in Coats. That's not what Stern and company want. Positive stories like that aren't their cup o' tea. They want stuff out of the streets and the gutter. Keep in mind Stern's choices for musical entertainment opn his shows. Let's see.... "Mister Methane", a guy who does rock songs with his sphincter hed up to a mike and on one of his New year's specials, a drunken, sad, and totally over the hill Tiny Tim. That's what Stern's M.O. is. Not the kind of uplifting stories we can easily find in any musical group like The Edge. Not enough farts and drunkenness.....

I don't lack imagination. When I staff, it's thought of as one of my strong points when asked to create program material. It's just that the answer would be very, very different in any given year and for very different reasons. It has nothing to do with levels of imagination. You want 2011? I would find it pretty hard to rebut the Brass judge who had BD a full point above PR in brass at finals. Or someone like Saucedo, who was one of the GE Music people who had BD ahead. Not by as much- but still ahead. I would think Saucedo just might know something about DCI Horn lines, hmm!? With some notable exceptions of late, BD has usually had an edge there in quality likely because of slightly better overall performance quality and likely more physical and mental demand while performing, even though for the most part I haven't been exactly wild about the BD programs as a fan for quite awhile. I wasn't wild about Bacharach, but then again, the PR program was still just lacking something to make it more complete. To show you I'm not totally devoid of imagination, maybe the real question that should have been asked was whether Crown's hornline was better then PR's...

Thanks- More the loss for Boom, Jim. A friend to me and many others- but also a good neighbor to Boom. Say hi to Ron if you see him before I do! I figure I'd better get back on track with the story. There I was, on field in Rome, NY, we have a bit of a loopy practice because we're all trying to win free beer for the corps. We're in the opener, and after the big solo, the triplets kick in, we stand up, and come forward in that elbow to elbow Company Front. Real advanced visual stuff there! Now, mind you, I know I'm preaching to the crowd here when I say that while you're performing, you're in the 'now' as to what's immediately happening, but in the back of your head, you're preparing for the next 3 or so drill moves and music, anticipating so your timing is ON and not behind. I'm in this company front moving forward elbow to elbow (hey, pretty much only BD marched in wider intervals back then folks) and my head draws a freakin' BLANK while I'm moving foward and my horn is up. In 4 years of HS Band and something like 20 competitions there and 44 football games... and a year at LVC with that screwy Marching band and 5-6ish football games... and three years and two shows at Westshore and something like 35+ competitions, this had NEVER happened. I know you guys know how FAST you think when you're performing. Everything around you will feel like it's in slo-mo when the corps is hot and you're hyper-aware of everything. Well, I'm trying to think FAST about what's next and coming up empty under that white aussie hat, realizing that any foul-up out of a company front was going to be noticed BIG-TIME. We get to the next move point, which for side 1 was a 90 degree flank to the right, of course torso still flat to the sideline and audience (again, typical stuff for back them young peoples!) while maintaining the CF. We didn't have a term for muscle memory back them. ALl I know is that we had to have pracriced that move so many freakin' times that in the back of my mind, I had the correct answer and I just DID it. Pshew! Everything went back into my head for the rest of the show just fine. I had a good show, even with that brain fade/flatulence, and I was back in the groove, I settled in like a vet should and did the gig. I think you all know why I NEVER said ANYTHING till now about it. No harm, no foul, no ticks, and no getting yelled at. But, it's why I think I remember that weekend pretty clear. that never happened to me afterwards at WCU over 2 seasons there or at Westshore again. It was just freakin' wierd. My guess is this is not all together uncommon but somehthing one just does not readily admit. I'll blame the beer craze for it. Anyhow, we win the show by roughly three points. We're all feeling pretty good about it and high-fiving and all ready to get a hold of at least one fresh cold one when Eric pretty much comes up to us with a huge frown, quite unamused, as was his wont when he didn't feel we were up to snuff. "Well, you came in first place, but did you win the show!?" "Yeah, we won, we won! Woohoo!" "Yes you came in first place, but did you really win this show!? Did you all do the very best you could out there tonight!? Was this corps as good as it should have been on that field!?" Dead silence, and a serious realization hit us for a long moment as Eric realized what he said was sinking in and gave us that rather knowing look he can give people. One of those little 'life lessons' just ran most of us kids over at 90 miles an hour and I think it has stayed with a lot of us 30 years later. I know while we got our uniforms and gear stowed, I thought about it, but I realized it was also time to at least celebrate a first place, whether we did our best or not. Yeah that parking garage did have pretty bright flourescent lights, and those guys from Erie were pretty wild. I'm still looking for Matzack or someone on DCP from Erie to give me a refresher course on the song "Two-Ton Tessie" which was a pretty daggone funny corps song that we sang in the garage. I think everyone who wanted a beer got one, a few might have gotten two, but the beerballs were pretty small for a thirsty DCA corps with over 100 people in it. But, they have not been forgotten! What Eric told us, I think held us in good stead the rest of the season. I'd say we buckled down well in rehearsals and did well. We grew from the experience and those words. More later-- the next chapter in '82 as far as I'm concerned was the Grand Prix-- but I'll try and mention the other stuff in passing later on...

First poster.... Trying to stir up the soup? Please rephrase the question. Much depends on what season one cares to discuss.

I know what you mean on neighborhoods. Things change so quickly in my apartment house but not really around it. Then again I really don't know the neighbors very well. I got to HMC around 4PM Friday, and was told when I got to the then-empty room he didn't make it. Racing Saturday helped a lot but I was still not entirely on top of things there.

Hey, Ben. I remember anyone who was good to me and to Boom. I do not forget. Jamie Washburn I think never got over how I always appreciated to the end of his days how kind he was to me as a rookie. Ron Church, Dave Pompanio, Dave Rohrer, Fawber, too, though I DO hope there are a LOT more days in Jim, Ron and the two Daves!!!!!!!! Butch was a great neighbor to Boom, period. And the whole thing is just way too surreal.

I need to get back to this- but- more craziness has invaded the Westshore family. I apologize, but I have to go see a friend of Boom and the family at HMC before work. Not good.

What many of you say is very, very true about the nature of Reality TV. I saw a presentation on it in a Music Business class, and the presenter discussed how they want DRAMA, and a "compelling story" from the performers. Stuff like how they have four kidneys and donated three to their cousins and work 7 menial full time jobs to feed the neighborhood kids because they're all destitute, or how they beat an addiction to Frosted Flakes and are a recovering cerealholic. Unfortunately- they were obviously not going to get that out of a group of folks like this one so it was doomed. The performers in this group are all too mainstream, normal folks and professional musicians. I truthfully didn't expect much from the TV folks. I admire and respect DB's pluck and absolute sincerity in trying to present the activity to the mainstream, but I have been personally very content to accept it's a niche activity full of very decent and good people who are fine artists and musicians that while deserving better, aren't going to get the respect or interest of so-called "pop culture" people and the publicity mill more attuned to Spears, Minaj, and Gaga with their outlandish costumes, freakish, controversial music and lifestyles. Another issue discussed frequently in the Music Business class is the hunger out there for good live music and performances of all kinds. From what was discusssed in the class-- The Edge's strategy with Facebook is very solid, and they prolly need to get some video/audio up and keep performing at various venues and attempting to develop some kind of a fan base outside of the activity. If they can get any traction at all, it'd be a very good thing. At least an honest attempt was made. If this organization can succeed, all the more respect. It's a nasty, uphill fight. I don't have any rose colored illusions about their chances of success in this no matter how quality they are and how much folks like us like them.

YES. To back this up, aren't two of the DCA voting members A Class, which means they outscored 3 Open Corps on the same sheet and Panel at prelims last season? And the Hurcs have done extremely well with what would be thought of as a smallish horn line the past few seasons.

Yeah, RL hits, double shifts and taking care of the Reading Review kind of slowed things down. Remind me of some Dave stuff when I get to the Grand Prix in 1982. Quick recap: Next show after we froze hell over in Clifton, we find out that the prizes are beer..... Needless to say, it injected a whole new insanity into the rehearsal. We knew from the description of said beerballs, which were a new fangled thing in 1982, that we'd have to win as many as possible to get enough beer to make it work. In the opener when we all bent forward as the solost played, instead of yelling like we normally did, we were all yealling for BEER..... The color guard got worried as well as percussion about sharing of said beer, Larry had to be diplomatic about the sharing of the booty. We find out everyone got an equal share of the beer regardless of caption wins, which was fine for us. We figured we could still get enough beer if we busted hard enough. I think at that point the horn line got a bit cocky, figuring that if necessary we'd win the beer for everyone. Not an entirely bad idea, really when you come to think of it. Ream is reading this and prolly thinking, "Man, in my day WE'D be trying to win the @&*%^ Beer for everyone else, man..." Nothing wrong with that. It was a state of mind, and when a section believes, it believes. The trick is EVERY section has to believe. Conversations at meals and breaks were amusing. "C'mon, yeah Scott, Sun's drums are hot, yeah, but who says you can't win that one? Ya gotta at least try!? It's MORE BEER!!!!" "How many caption awards are there!? Umm.... hmmm... *counts on fingers*...." "If we win how many beerballs and they each hold x gallons of beer, and we have how many of us.... how much beer is that per person.... Not enough, dude, not enough.... Even if they were FULL KEGS it wouldn't be enough!... true, true...." Mind you, I'm 19 and a half. Boom is like 17.... Ben is 18ish, Magel is like 17ish, and this is the main topic of conversation. Things were just different then.... So we wind though the rehearsals and into the night contest. We were really too ramped up as a corps because of the beer. That being said, I would argue that ANY DCA corps worth their salt in 1982 would put forth an over the top lunatic effort to try and win beer. I need to sit back since I'm on break from work now. I'll talk about the show itself and what happened afterward later- I'll talk about somehting I've never discussed about that run through....

Yes. I am a Barelytone/Blaritone guy. I say this to be funny, but also quite seriously, it's what God wanted me to do. It makes me happy to pick up the horn and play. Other Bari people will read this and truly understand. I even understood what Jim Prime, Senior meant when someone said he used the word "Baritonality" on a tape. It's just one of those things and a way of life.

There are ways to try and deal with the issue. One is to disperse the battery on-field, I've seen this done, it takes a lot of incredible drill writing and great instruction and hard work. And I agree with John. It's obvious they didn't want to send kids home when I read the numbers described. With that corps, the main objective in many aspects is to give as many kids who want it experience and knowledge. You don't meet that goal by sending snare drummers who have showed up all pre-season and who can cut the mustard home.

Thanks! And I know the percussion people know what's right and what's not... the last gik-di-gik wasn't in line with the daze-d-daze, etc. but they're splendid musicians. To me that's what matters. Many a tight drum line over the years has had no life or musicality, it's what separates the best from the rest.

I apologize for not having this up this weekend, but I traveled for Mother's Day and the PC was broken where I was staying, so I had no chance to finish the review. The last corps on were the show hosts, the Reading Buccanners. I know many people are curious as to hwow they're doing. As a student of DCA history- and someone having taken a direct part of some of DCA's wierder moments as Tony will attest to, we know that sometimes after a corps has had an extended period of success or reaches some goal that membership and staff can turn over to a large extent, that a corps can fall back and end up re-trenching. Some of the questions on DCP have been along those lines. I can answer them, as can anyone who watched this performance. Yes, the Bucs took some clean shots and took a couple rounds between wind and water from those crazy, bold, and very brave Vikings in their huge Dragon-ship last September. Their ship also took some damage from bad weather. The Bucs could have stood off this season and licked their wounds from last season's battle. From what I have seen, they returned to their harbor, careened their ship, made sound the hull, sprung strong new masts, carefully refit anything damaged, and are coming out of harbor with a fresh coat of black paint on the hull and a brand new set of black sails unfurled on the masts. Their long guns are run out and double-shotted and the powder's dry. They're ready to fight all comers again, and I mean fight. The "Black Symphony" musical book is well-paced and engaging. I wasn't feeling any dead time in the program. The horn line's very well-balanced, extrememly nuanced, mature and homogenous-sounding for this point in the season. They played the venure and filled it with a strong, clean sound- no distorted over-blowing here nor careless/frivolous slop coming out of those bells, and I was figuring there to be some at this point in the season- 5 weeks from the first contest. The horn line understands where the details and nuanced elements of the book are, and really presses to make them happen even now. This is the way to teach, period. I have argued this with people in other programs time and time again that these issues should be done immediately and worked out thoroughly like the Bucs have done early instead of trying to cram it into the last 3 weeks of the season, by which time people have learned playing the show in an undetailed fashion and have to re-learn everything mentally. They understand the meaning of the word "ENSEMBLE", to their credit and my deep respect. Even though the horn line is strong musically, I have to say that the Percussion also was quite eye-opening. The Front Ensemble goes about their work very professionally, like scientists working carefully and exactly on a serious musical experiment. Everything is exact and beautifully supports both the horn line and battery. In short, the percussion battery was a gas, especially the snares. Stage placement may have masked the Bass Drums, there were moments where they showed they could play and had some solid moments. The tenors were solid, but didn't have that feel of the veteran "old, cool heads" the rest of the battery has, but I'm confident they'll get more relaxed with their hands and as a group- their parts are quite challenging. The Snares are... incredible. I had a good vantage point since they deployed at an angle on the stage. I looked at the hands, the approach to the instrument. Insanely consistent for this point in the season. I tried very hard to find someone who wasn't down with the others, and couldn't. They're also very aggressive, taking huge bites out of the music and attacking it, rather than just trying to survive their book and not goof up. When I normally see groups that aggressive, I wait for the inevitable failure, someone losing the end of a phrase, blowing an attack into the next phrase, sloppy rolls, A blown accent or emphasis, something is bound to get away from someone- not these individuals. I wished I would have had Swerv, Chris, or Ream there- someone who I know knows field percussion at a high level to tell me if I was missing anything. They have a fantastic groove, and are also extremely musical. For any snare line to grab a crazy Lead Bari like me and make them listen and show such musicianship, is worthy of my deep respect. There's only one concern I have, and I had to think hard of one. I get worried I'm painting too much of a pretty picture for the readers, but they were QUITE good on stage. Keep in mind I marched against these folks for six seasons, and they were a respected rival of ours in that period. I know what it took to beat them- we did twice, and knew that they also got the better of us more than we got of them. If the corps you're with can do what the Bucs are doing, I'll compliment you just as much- I promise, but the job's gotta be there! The main worry for me is what wasn't shown on stage, the visual package. It will have to solidly make the mental connection with "Black" and the musical book with the audience. the Bucs' visual staff have been consistent for several seasons at achieving those kinds of coordinating goals, and I'm not one to doubt them at this point. The members I know and talked to are enthused about the drill, saying it's more active drill-wise than the previous season's package, and that they very much like what they view as a heavier challenge for them to achieve. The morale is high, and the attitude is superb. So in conclusion-- 1: If you can, get to this show next year and help sell it out. The performing corps, both alumni and active put on worthy performances worth listening to. People keep yelling on DCP about 'helping the activity', and by buying a ticket and attending, you will do so and also have a good time. 2: Fusion Core can most certainly be very competitive at the Open Level. To underestimate them and sell them short would be incredibly foolish for several Open Class Corps. They're very worthy of respect and should have it. 3: The Bucs are ready to try and contend, not just field a corps. Anyone who was counting on that bad old Pirate Ship heading for Davy Jones' Locker will end up ducking some cannonballs or taking a 32 pound round shot in the lap this summer. 4: If Fusion's and the Bucs' performances are any indication of the coming season, it should be a really good one to get to some DCA shows. Make the effort. Get tickets, get in your car and drive. I'm not saying this because Tom Peashey asked me to. It's fact. I hope to see some of you there at some shows. I'm looking forward to seeing how this seasons unfolds!

Thank you, Kyle and AJ. It's not listed in the program or on the Bucs Alumni Repertoire online, and I didn't take notes, figuring the rather excellent program provided to everyone would cover things. Not easy for me to take notes in a darkened auditorium. My glasses have always been rather thick- ask my old Westshoremen friends from BITD, I need light, and a lot of it to see my best, especially now. I appreciate knowing how far back the piece goes. I try to learn and study as much as I can about corps of all eras when I have time to sit and listen, or in some cases, watch shows. My knowledge gets weaker pre-1975, most of it has been gleaned from the occassional records friends had BITD, a bootleg cassette tape of the '75 Muchachos now and then back in period, Frank Dorritie's "For the Record" podcasts, and looking at the Cabs' wonderful on-line archives of film and early videos. Frank's recent editorial really sums it up in a nutshell- things are at heart still similar, and to understand what we have now and why, the answers are all there from listening and thinking about the past of the activity. It's why concerts like these have become important in certain aspects. Kind of like a Military re-enactor group, trying to best explain history through seeing it and hearing it. On with the final corps....

I think that this season based on what I saw out of Fusion Core, that anyone who waits it out for the top 5 will be missing some fine performances in open class this season regardless of placement. I think the fact that three won't make it will push everyone to really extend and to really put on some strong performances and develop strong shows. Thank you for the DCA membership parameters. I was unsure as to the vagaries of it now. It's very fair to have the A corps have that opportunity to get that mambership opportunity- and that alone should be pushing some of the ones at the bottom of Open Class to do better.

What I mean is this- If you know you only need to beat one corps- and that corps is in trouble to be a finalist- maybe you arrange and design far more carefully and conservatively to make sure you can beat that group and get in. Worry about getting higher placement later. Also, it's important to make finals- voting in DCA. A place in decision making. Unless this has changed, you also get more money for appearances at contests. The value of being a finalist in recruiting I would still think is also pretty high. It was when I was a kid.

Point well taken, Andy- but still-- the threat of three going home is going to push the ones on the bubble HARD, very, very, hard. And I see that is a good thing. Nothing worse as a staff member or performer when you get fat and complacent. And before Ream says it, in my case it might be more the complacent issue, LOL. :D

I think 13 open class corps this season going for 10 finalist spots. 11 corps last year, loss of Alliance, adding C2, Kidsgrove, and Fision Core. Kindly correct my math if I'm wrong, but it looks like 13 corps? And for those who are all wound up abour C2- hey--- DCA might need their version of Kyle Busch and the Iron Sheik to rouse up some discussion and fan interest... :D

The last corps before the intermission were the Selden Cadets. I'd heard of them, but this was my first listen to this organization, so I was quite curious. It's a small ensemble of about 20 brass and 4 percussionists, with many of the brass Sunriser Alumni. They're really enjoyable to listen to, with a very eclectic mix of good charts. I liked the John Sasso period arrangement, and as their conductor said, it holds up well. Good arranging for brass withstands the test of time and is always enjoyable to listen to. Some of the pieces are familiar, others were unique to the organization like "The Lord's Prayer" from the movie "The Robe", which I found to be a fine arrangement. Their set drummer really provides a firm groove for the brass. The brass project and have great authority and sound, but never, ever overplay or become crass. The Sunrisers were always playing in that particular way in their heyday, and it always served them very well, and these individuals still uphold that tradition. I think because of the set player, they remind me in many ways of Swing House with that lighter percussion sound and feel, it's just that the repertiore is a more traditional one with the Cadets. I will tell the readers this- If The Selden Cadets are coming to a concert and you're wondering whether or not to attend the performance, do it. they're worth going to hear and I'd have liked to have heard more from them, but brass players can only play for so long before they run out of gas, and they performed very, very well. A quick intermission to stretch, and back to the second half of the show, which was kicked off by the Bucs Alumni. I note here that the active Corps quietly came in to line the sides of the stage and listen, which is a very kind and respectful gesture on their part, something I am certain that the alumni truly appreciated and took to heart. Manners are becoming more and more scarce, and it made a deep impression on me. Little gestures like this can go a longer way than many people realize. "Greybeard" got the crowd ready for the performance, and the Bucs Alumni have added a lot of little touches and ambiance to really enhance the enjoyment of their performance and uphold their traditions. I appreciated the fact they performed "En Sueno" which was a wonderful old chestnut from 1981 and 1995. They brought back the memories of those long blue coats and the high step as they moved forward in the opener. The one selection I liked the best was a lovely ballad that was arranged and conducted by Tony Yaklich, but I can't seem to find or remember the title of the piece. Wonderful dark harmonies, and beautifully played by the ensemble. The Reilly Raiders entered the stage next, and were their typical selves- kind of like a big, tough fella that at first might seem intimidating, but once you get to know them, is a really kind-hearted guy that just wants to have a lot of fun and make people happy. The centerpiece of their performance was a wild romp through Drum Corps history with a medley of a lot of rather disparate signature pieces from many DCI corps. How anyone can take Bully, Crown Imperial, Conquest, Picturas d' Espana, and the Reilly trademark "Irish Eyes" and create a medley that made it all work and come out great in the end is beyond me, but it was good to see the corps on stage, playing hard and doing their part as one of the elder statesmen of the activity. Reilly and Selden serve an important role in our activity- specifically, reminding its fans that Drum Corps existed and was doing well before the existence of DCI and DCA, and that this aspect should be remembered and appreciated. I'll cover Reading's performance in the next installment. There's a lot to discuss about them and I have a lot on my playe I need to take care of before work....

My sympathies to you and Kris, Jim.

Bingo- experience, especially in Percussion Battery and playing together as an ensemble for years, makes a huge diff. And really, to get back to the point of the post- I welcome a bit of confidence and bravado. The pool is big and the water's warm, and another quality unit pushes competition to higher levels of excellence. It might be the quality of the 7-10 bracket in OC Finals will be better than it has been in a long time, if not ever.

I saw Jerry's obit last night after work in the break room. A man with a great heart.