jthomas666

Let's not get too hasty. Rather than worry about who the judges are, Regiment should forget who the judges are, and instead focus on delivering a performance so freaking awe-inspiring that even judges born of an unholy alliance between Satan, George Hopkins, and Dick Cheney would nonetheless be compelled to give Regiment the title.

Keep in mind that Spirit's new uni design will amplify any drill errors. But as the drill gets cleaned and polished, those unis will show off the strengths. Really, those unis are like wearing white shoes w/ black pants.

You need a poll option for "How the #$%# should I know, I haven't seen a show yet?!?!"

Crossmen from Bergenfield, NJ?

Well, that's what Mrs Shostakovich told me . . .

You will be posting again when you're more coherent, won't you? I saw a clip about two weeks ago of what I'm guessing is PR practicing VF, and that clip give me the same sense of impending butt-kicking as the opening bars of PRs '96 show.

I did the wool uniform thing in high school; when we got new unis my sophomore year, they were made of some freaky fabric that had all the characteristics of heavy wool in warm weather, and all the characteristics of thin cotton in cold weather.

The first time I saw The Rocketeer, a friend with me commented about 3/4 of the way through that he was amazed that Horner hadn't ripped himself off yet (My musical background isn't strong enough to know if he swiped from anyone else). And we got to end of the movie, and we started going "You're on a roll, Horner, don't choke." And then right at the end of the closing credits, he swiped almost verbatim an extended brass flourish from Star Trek II. And he was SOOOO close . . . ;)

Actually, his main theme for the Harry Potter movies is essentially his own theme to Schindler's List, of all things, set as a waltz.But, yeah Horner swipes from all over the place, including himself. These swipings aside, he constantly recycles little bits and pieces from his earlier work--compare Star Trek II and Aliens, for instance. Williams is clearly influenced by other composers--he admits borrowing from Holst in the Star Wars liner notes--but he generally doesn't blatantly lift themes the way Horner and Zimmer do.

I discovered the show via the Classic Countdown DVD. The drill reminds me a lot of Cavalier drills, and I was wondering who designed the drill.

Ok, let's whittle the list down some . . . 1979. Blue Devils 1984. Garfield Cadets 1985. Garfield Cadets 1986. Blue Devils 1987. Garfield Cadets 1991. Star of Indiana 1992. The Cavaliers 1994. Blue Devils 1996b. Phantom Regiment 2000a. The Cadets 2002 Cavaliers Now, the finalists 85 Cadets -- Nothing against the 84 show, but 85 was a revelation, particularly with Make Our Garden Grown and the Overture to Candide. 86 Blue Devils -- Tired of this threepeat crap, BD came out and blew everyone else away. The definitive version of Channel One Suite with stunning brass and percussion. 87 Cadets -- Appalachian Spring. The company front. Gently drifting off the field at the end. 96 Phantom -- Watching this show on freaking YouTube brought tears to my eyes. (Sadly, watching the show on the Classic Countdown DVD also brings tears to my eyes, but it's because of the @#$%^@ sound--the battery sounds like they're outside the stadium.) 2002 -- Actually, I like Spin Cycle more than Frameworks. Oh, well. Winner: I will repeat: Watching this show on freaking YouTube brought tears to my eyes. 1996 PR

93 PR: The Flying Wedge/360 Fire of Eternal Glory End of the show

Yeah, I liked that logo. Had a great maroon T-shirt with the logo on the pocket, but it got cut off of me during a trip to the emergency room (long story).Other great logos: Spirit--Clean and distinctive. Had a great t-shirt with that logo, but it got kind of shredded in a bicycle accident. Phantom--Again, simple and clean. Having learned my lesson, I do not own a t-shirt with this logo.

Please. 1989 SCV wasn't even the best show of 1989.

There is certainly some elitism on the part of individual posters, but I don't get the sense that the general tenor of the board is elitist. More specifically, I never marched in a corps, but no one has ever used that fact to attack any of my posts. Which is understandable. Given that drum corps is a SPECTATOR event, it would be rather silly to dismiss the opinion of said SPECTATORS. For those of you who do harbor these elistist feelings, let me ask you this--When you marched, did the applause of those who have marched sound any different than that of those who did not march corps?

I'm not sure you can say that it was a Regiment show that made me a drum corps fan--but 79 was the first finals I saw, and I've been hooked ever since--and I did love Regiment's show.

I voted 82 Crossmen, but really, I'd judge it a tie between them and 87 SCV.

Hey, the Blue Devils did it . . .oh, does that mean that the Bluecoats are the new Blue Devils . . . But yeah, the new helmet looks cool.

Boy, soloists everywhere are going to be so bummed . . .

Pegasus--magnificentActually, 1982 was a pretty fine year top to bottom.

Madison 80--the entire horn line took up silks and rifles.

Here are some that spring to mind. Multiple BD lines including 82, 86, 88 SVC 82 (the sound and balance in Appalachian Spring is glorious...just ignore the bottle dance) Cadets 84, particularly in Make Our Garden Grow Phantom 89, 91 Suncoast Sound 83, 84 Star of Indiana 91 Boston Crusaders 00

Somewhat off topic, but the 1981 recordings had a ridiculous amount of crown noise in them. The two that really stick in my mind were 27th Lancers drum feature--Some guy with a broad Philly accent yells his food and drink order to someone. "Ham and Cheese!! BEEEAAAHHR!!" Phantom--midway through the show, as the corps is softly playing backfield getting ready to turn and blast, some guy starts yelling "You can do it!! It's there!! Do it!!"

Do you suppose that they will do Wind Beneath My Wings? I'm not sure if that is a joke or not, actually . . .

It's a little thing in PR05 (a show replete with major pit licks), but it just amazes me every time. About 1/4 into the show, the xylos and (I think) the mellophones play this 16th note run in unison underneath the melody. The balance between the pit and the horns is unreal.