TerriTroop

This is VERY EXCITING!!!!!!!!!!!!!

I'm pretty sure Savannah is not at all seen as a "token" within the Troopers organization.

Firstly - I had no idea you were related to Gunny! He was a quiet devotee of the Troopers for so long, and I was glad to have met him, if it was just for a few short hours one summer day in 2008. His joy in doing what he was able to do for the corps and some of our drum majors over the years was obvious. Secondly, I'm sad that you feel the tribute to Savannah's historic appointment is not appropriate. I'm not here to try to change your mind. I do hear your point, and I can agree to some extent. Yet, I have to recognize that the Troopers are sitting at an historic crossroads moment as an organization. I assume that Savannah, along with the Troopers family and friends, understands the significance of her appointment in the context of the history of Troopers drum majors. I can't help but be certain that Savannah's accomplishments definitely put her at the top of the list; however, I can see how one might not directly get that from the video. Lastly, we all know that some changes come slowly. For many years it seemed that there was a specific "image" that many people held dear about the Troopers drum major, and that attachment was often tied to the uniform they wore and the unmistakably masculine ethos it projected. I don't think there's any harm in acknowledging that this particular appointment signals a deep commitment by the Troopers organization to set a new course.

Troopers announced this just today: The Troopers Drum & Bugle Corps is pleased to introduce Kristy Jackson as the new Corps Director of the Troopers. Kristy has years of involvement working for the Troopers and played an instrumental role in the success of the 2018 season as Assistant Director. Former Corps Director Fred Morris, who oversaw the resurgence of the Troopers from 2007 through 2018 remains on the team as Senior Executive Advisor. Anthony Cruddas has been elevated to the role of Educational Director and is tasked with overseeing the quality standards of the overall educational experience for the members. He will continue to lead the brass caption as well. Lauren Teel will continue her long standing role as Percussion Caption Head, building upon the success of the last several seasons. Robert Blake has been named Visual Caption Head. Robert will draw from his experience not only as a former member of the long blue line but from his time at the Santa Clara Vanguard. Returning to lead the Troopers Colorguard is Danielle Schweiger. Danielle's work with the Troopers in 2013 and 2014 led to some of the most stunning visual moments for the Troopers within the last decade. This team has been assembled to reflect our desire to establish a member experience that is second to none. It is our belief that by upholding the values of our mission, success will be achieved. Our mission is simple and powerful. To provide a youth activity with positive educational experiences that promote the growth and development of specific life skills consistent with the Trooper Tradition of Excellence. Each of these individuals are committed to this mission.

I’m just going to answer your last question with this: I don’t recall anyone claiming SCVs music this year was better than Garfield 83 or the others you mentioned. That’s like asking people to define why Brahms Sym 4 is better than Holst’s Planets. They are both absolutely remarkable in their own right. I adore Garfield 83 and SCV 85. I also adore the more visually oriented shows from Cavies in the 2000’s. I loved Cadets 91 and Crossmen 92... I could go on and on. These are shows that stand on their own merits for me, and I don’t feel the need to size them up against other shows from other years.

Ok, I've got a short window of time to address more specifically the points that the OP used as the underpinning of his perspective of the definition of quality in music: The first criterion for great music is that—on the first listen—it moves you. Nope. There are GREAT pieces of music that leave me "flat" (to use your term). Examples: Mahler. He's a late Romantic period composer who wrote pieces that, for me, feel like navel gazing and take too long to develop. BORING. (to me) But is is great music? ABSO-EFFIN-LUTELY. I have friends who live and breathe Mahler because it moves them. I'm just not in agreement with them. Who is right? Again, I can recognize that the music is "great" even if I am not moved by it. There were no discernable, memorable melodies in the show Nope. Let's go back again to the Mahler example. I can't hum a single tune from Mahler. Not one. It's still memorable and discernable, but to someone else who is more drawn to it. There was no sense of a grounded tempo anywhere in the show. NOTE: Even some of the most brilliant, avante-garde compositions in music history hold to a steady tempo for at least 16-32 bars—I'm thinking of pieces like Stravinsky's Le Sacre du Printemps or Bartok's Concerto for Orchestra orJohn Cage's Third Construction. Again, NOPE. You aren't paying attention enough to the show then. There are plenty of places in the show in which there is a groove, a place to live in the meter and tempo for a while before the "composer" (arrangers) shifts gears. There was no overall sense of continuity Ok, that's how you feel. I get that. I have my own problems with some of the continuity of the show. But to say there was NO overall sense of continuity is a bit too strong. It's drum corps. SCV's Babylon is great show to many fans, and some don't like it. It's not an "epic fail" according to your criteria because your criteria were entirely subjective despite the attempt to make them sound objective. It's not a crime or anything. It's just a logical fallacy that your criteria were somehow not related to taste. Also, "mere-exposure effect" is a longer and more complicated conversation. I would love to go there, but later. (time's up again!)

First: I apologize in advance because I didn't have time to read 14 pages of replies. I literally have 15 minutes to try to reply coherently, and I feel compelled to do so now because this topic is of great interest to me, but my time the rest of this week is very limited. (inservice days and preparing my materials for day 1 next week!) second: I have a BM and MM in Music Theory with a minor in music history. I am a choir director, band director, and I teach general music as well, all in grades 3-12. I also teach an 11th grade human aesthetics block called "History Through Music." I'm starting year 20 this year. That said, I disagree with the original post on several fronts. 1) Music's "quality": It is well known in music theory circles that many researchers attempt to codify music for "quality." Schenker, for example, was a German theorist who attempted to prove the "quality" of music based on its underlying harmonic principles, and music of "German" styles were, by his measure, meant to be seen as better in "quality." I won't go into the details, but spending a year in grad school working on Schenker graphs taught me that this method of discerning "quality" was often arbitrary and sometimes highly contrived. MY POINT: Music's "quality" is not something that we can codify completely by any particular system. 2) Musical "taste": I generally have a distaste for Mozart. Mozart's music is high in "quality" but low on my "taste" measure. I can hear the quality of it but I don't have to like it. Many people have difficulty recognizing or ascribing quality when music doesn't fit their taste. The more educated a person is about music (self educated can be just as good, IMO) the more they can accept this difference. I also don't like the Carpenters much, but I recognize the harmonic beauty in combination with creative melodies that sometimes suspend and resolve in unusual ways. So, the Blue Stars show wasn't as interesting to me from a musical standpoint (except for the more esoteric piece by Carpenter), but I recognize the value of the music. 3) Regularity of rhythm is NOT a measure of quality: I'm not sure if I missed a detail in the OP, so I may be off base here. Regularity and irregularity of rhythm have certain effects, and neither is a requirement for "quality." The intentionality of the rhythm is what is important. Shostakovich, Stravinsky, and hundreds of other modern composers will play with rhythm in jarring ways for effect. Entire pieces are written without a sense of beat - "Threnody for the Victims of Hiroshima" by Penderecki, for one very important example. Webern and others of the serialist style intentionally avoided beat. (and I struggle with taste in regard to those pieces, but their historical significance can't be overstated - the emancipation of music from long-evolving rules of harmony and form was needed, and that purpose was served by the work of serialist composers) Now, to address SCV's show: I find most DCI shows to have the same problem of "chopped up" musical examples that flow somewhat poorly. SCV is no exception to that problem. It is very rare that I feel that a show flows so well as a whole that I am swept away into a musical landscape that feels whole. 2007 Crown (Triple Crown) is one example, along with 2009 SCV (beautifully rendered Appalachian Spring show with clear thought as to the original music and movement), and I forget the year but SCV's recent Les Mis show all fit those examples for me. FOR ME. And that brings me to my last point: it is good that people attempt to discern their measure of quality. We should all do that. But for hundreds of years music theorists have argued over musical "quality" and nobody has discovered a magic formula. Music's effect on the brain is simultaneously well documented and mysterious. But drum corps is about the whole package - visual intrigue, movement, showcases of individual groups, etc. I think it's clear to many of us who have followed the activity for decades that the days of "audio only" enjoyment are becoming rarer. Is that a musical "fail", or is that the nature of how shows must be designed to suit boxes evaluated by judges? I'm not sure I have an answer to that one. My 15 minutes are up. Hopefully I'll have time to catch up on this discussion late this evening.

Troopers had a really good run today. Wish I had watched on high cam, but I'll do that tomorrow. It's a beautiful show and I enjoy it more every time I see it. HLD, my fellow Troopers!!!!

As a vocalist myself, I love Bluecoats' singer's work. I wish they'd kick it up a half or whole step to get her into a slightly higher range. They could also let her riff a bit at the ends of phrases to add the 9th for a bit before resolving. It just needs a vocal punch. Great tuning, timbre, and control - she could shine with a little more to do.

I think Boston might have the ability to pull ahead of Cavies with this show. That was a fantastic run.

I don't always like dark and creepy shows. Mandarins does it for me. I liked it much better in person - the camera just doesn't capture it well.

Yep. Gave up on Apple TV. Support was contacted. They replied to tell me that the stream is up and running, use a different device. So, I gave up on Apple TV this time and am streaming from my phone. They really need to escalate that stuff up the chain to get that fixed.

I admit, as a Trooper alum I wasn't sure I was going to like this show as much as I do. Don't get me wrong - I LOVE all of the nods to the old school! But I also want them to really push that envelope and go out on a limb, design-wise. That said, I dig the two sunbursts! The second is awesome with the flag staging, and I love the key change and the new ending that they put in a week ago is really great. Keep pushing Troop! HLD!!!!

WTF FloMarching??????? SOUND?

Agreed. As always the Alamodome is woefully unprepared for this event. I was in line for 20 minutes and I was in the first 30 people there. The folks behind me will be lucky to get back for scores at this point.

This Mandarins show has a very BD vibe to it, and not just because of the connection to the Rite. I like it! (Today is my first viewing of any drum corps this season so it’s all new to me!) )

92 Crossmen 16 Academy

Never mind what I said about it not being on DCI's page. Apparently I searched incorrectly. I see it on DCI's schedule now.

Licensing, licensing, licensing..... I think that would be the biggest issue.

Howdy folks. I waited way too long to look for tickets. That's on me - was just crazy busy doing other things. So, if you happen to have a great ticket to sell off, I'm in the market. I'm looking for high up on the lower level between the 35's or low down on the lower level between the 35's. I promise I won't hype Troop too much. Maybe.

The jackets are actually repurposed from 2009. They modified them to suit this year’s show.

Thanks Bear - wish I was there to see it all unfold along with you and others! I'll be seeing the corps in Texas (that's what I do almost every year - last year was the first year I missed since I don't know when). The Sunday after the San Antonio regional I'll be joining forces with some alums to offer the corps our traditional Texas Alumni Breakfast. Nothings says "NOT tour food" like breakfast tacos and yogurt with real berries and granola!

Here is something I wrote specific to a forum about being female. I think it's time to share it here, with some minor edits. It's a story that I think embodies a lot of what was happening in America, including drum corps, when I was in my teens and 20's in the 1980's. It is based on my own experiences with what it was like for me and my female peers in a very male-dominated world. I certainly acknowledge that sexual harassment and abuse is not just about males targeting females, but at the moment that's what we are discussing. And so: A STORY ABOUT GIRLS AND BOYS A long time ago, in a universe kind of far away, women in certain jobs were expected to put up with certain "flirtations". If we dared to speak up or stop it we were usually told we were making a mountain out of a molehill. "Don't worry, darlin', he doesn't mean anything by it. You just keep doing what you do. You got nothin' to worry your pretty head about." Sadly, our older female mentors often recited these lines to us, and so we were taught to not rock the boat. But deep down inside we felt there was something really wrong with what was happening. We were aware that we were in a situation that was a boys game, and the boys made the rules. And the girls in the game would blow off the "flirtations" (and worse), make jokes about it, and minimize the chilling effect it had on our ability to do our jobs because we wanted to KEEP our jobs. So, a lot of us just played the game and grit our teeth as much as we could stand it, and the boys thought everything was cool. Until one day, a few decades later, something happened - the girls were speaking up and finally not being shut down. Girls could say that the boys had done a wrong thing to them and almost nobody recited the old lines, or blamed the girls for how they looked, or cast doubt on them by wondering why they didn't speak out earlier, or accuse them of luring those poor, innocent boys into their girly sex traps. (can you hear my eyes rolling?) And so a lot of girls are now telling their stories. And I'm so glad that they are. These stories are often similar: A strangely powerful club of predator-men in positions of authority used their power to openly leer at the girls, to cop a feel, to extort a sexual relationship, or worse. But the tide changed, and the members of the predator-man club were finally seen for what they actually were. The girls now say to those particular boys and the boys they ran with: your rules were crap, and you don't get to tell the girls to sit down and shut up any more. THE END. *********** (Please know that this story is just my way of expressing my gratitude for the changes in our American culture that have made it possible for these women, and so many others, to come forward and seek justice for the multitudes of wrong acts that have been perpetrated under the alluring disguise of power and success. Also know that I do not want good, honest, ethical people to go down with any single predator's ship. There are great men and women who have been allies along the way. They, too, felt powerless for far too long.)

Here's what I hope the board of YEA will consider doing: 1. Hire a student safety expert RIGHT NOW. Get training for every single staff member, volunteer, administrator and board member. Step up to the plate and do it for the young people (and their parents) who have put their faith in the organization. 2. Take down that really unfortunate YEA response. Yes, it will be copied and pasted all over creation, but take it down and apologize for it. If GH wrote it himself, own up to that and stop letting his voice be heard in any way. It's only doing more damage if he's involved. 3. Issue a PROPER response acknowledging that from this point forward, safety will be more important than image. Period. Stop trying to protect the person who is accused. Let the lawyers do whatever they must but get all of GH's fingerprints off of YEA and all subsidiary organizations until an independent investigation has occurred. That's my little 2 cents worth. I really hope YEA will do something to fix that awful response.

I just didn't like their subscription tactics. I didn't like that I couldn't see what I was signing up for exactly before I started providing them with personal information. When I clicked the link I was immediately thrown to a "Join now" or "Log in" screen. Under that it says "Questions? Email us." I poked around and found no information. So...nope. I'm not going to give them my email and other information that they can put in some database. All I wanted to know was: 1) does the subscription end after 1 year or is it eternally renewed unless I take action, and 2) if they had rewind/playback during the broadcast. That was one of the most important features for me in previous years because I sometimes had to walk away from longer broadcasts to take care of work or family issues. I agree that the price wasn't particularly unreasonable, as long as it had the features I wanted for the money.