RContra

For the lsat 10 years, DCP has had a toxic reputation throughout marchers (go teach somewhere now and mention the site--the reaction is priceless), so the new blood to replace the leaving blood hasn't been super existent. Can't wait to hear this. I know the Bluecoats mello solo in Metropolis was originally supposed to be French horn (and almost was until they eventually decided the penalty wasn't quite worth it). It'll be cool hearing that other brass timbre the way the arranger intended.

1. Bluecoats would have to top my list. All of the music is new to me, and considering who writes the book combined with the quality of the source materials, this show has definitely piqued my curiosity. They haven't put out a show I've disliked since... Jesus... 1996? Yikes. 2. Carolina Crown's ballad has me sold. I know they can play a million notes cleanly, but it's the lyrical ones that have me drawn to this show. I've wanted to hear the Giacchino tune on the field for years and now THE horn line is playing it. Yes, please. 3. Blue Stars vaulted into my top three after someone I marched with who's now on staff played me a video yesterday. Absolutely nothing in common with BD 2011. I've never quite seen/heard something like this on the field before, and I definitely mean that in a good way. 4. Madison has always been hit-and-miss for me, but have them play jazz on the field and I'm totally there. Not to mention seeing what their vis staff cooks up this year. Maybe they make the push into the top 5 and maybe they don't, but I'm excited to follow them this season regardless. SCV's musical rehashing has them currently situated in my hot dog corps position (though before the backlash starts, keep in mind I'm generally a huge Vanguard fan). The thought of the Cadets doing another America-related show will also likely have me running for the concession stands, although their show last year was my favorite of the season.

BoyWonder--did you ever march in a finalist corps? Your logic seems...off...for anyone with actual experience in the game.

Largest is Madison's 20, as mentioned above. Loudest wouldn't be a label I'd necessarily want as a contra player. Most of the loudest lines I've heard have been blatty. Lines like '07 Bluecoats project extremely well and are staged effectively to be both heard and felt. That's the ideal situation on the low end.

Mission accomplished. :) But seriously, folks...

Yep. Sounds like crack-smoking to me.. 15th with the Pulse drum staff and Saucedo in a kicked-up role? Nope. With that BK show announcement, I'm curious how it'll be this summer with two Blue teams using the same ballad source material, especially considering how close they'll likely perform when they see each other at shows. Might be a fun little competitive sub-plot. My prediction for 2014: SCV and Bluecoats turn the heat up, particularly Bluecoats' vis program, putting Cadets in 5th.

This is a fantastic point, and a conscious effort on the part of the design team. Vocabulary is the main motivator here. It's easy on the audience to direct their eyes, and judges tend to appreciate that as well. But as the judges get to know your show throughout a season, words like "vocabulary" and "varied" on the sheets start taking priority. That's when BD can squeeze out those points that are the difference between first, second and first places when Saturday night comes around. My only complaint with this stems from the numerous band (and corps, from time to time) programs I've worked with where vocabulary is crammed in for the sake of vocabulary. If you're competing in a circuit where there's a judges' critique, this becomes an ace in the hole, especially if you see the same people multiple times throughout the season. "You see, one time Shostakovich took a massive dump and made a face like this, so we're having our colorguard put on that expression within the second movement, coupled with spinning flags that are silk-screened with the name of his long-lost great, great grandniece. Now that you know that, thank you in advance for those two tenths of a point at a future show." I know there's some hyperbole in there, but I can't tell you how many designers I've heard saying similar things while quoting BD's recent successes. I can't claim to know where the line should be drawn (or if), but I'm guessing there's got to be a balance somewhere. EDIT: I forgot to mention this question that I ask my design clients that was suggested to me by another designer buddy of mine. When beginning a show, I always ask a band director to rank the following statements --I want to win. --I want to provide an educational experience for my students. --I want to be entertaining. --I want to be clever. There's no right or wrong answer, but I always say that the hierarchy should dictate the show design. If all you're concerned about is being as clever and multi-layered as possible, yet you put entertainment at number one or two on your list, then we have a problem. It's always fun to see how directors respond to the rankings versus how they act, and especially how they act when they realize the stark dissonance between the two.

Why include DCPers when we have beer and Russian escorts?

Please, never go into judging. Also, you may want to get your hearing and eyesight checked. (apologies--I didn't know how to put this into my last post!)

As someone who was on the field in a corps closely competing with Cavaliers throughout each of those years, I would disagree with each, as would just about everyone I marched with, though we would have loathed to admit it at the time. lol Those dynasty years were some of the best design we've ever seen, with performers doing things at a level that was just leaps and bounds beyond what the rest of us were doing. Oy. It still feels dirty to admit it.

No on could touch them to this day, as long as you don't count the line Bluecoats put out in 2012, Cadets in 2013, etc. etc. etc.

Yep, I saw him addressing the issue. That doesn't mean I have to be happy about it. lol And fsubone--sounds like you're right on that one. I would agree, though maybe I'm just fatigued from being on this side of the pendulum for so long. I was really encouraged when groups like Muse broke out, but that didn't turn out to be the paradigm shift I was hoping for (though they still made some awesome records).

lol No, but I know the phenomenon you're thinking of. This is more on a hood level, not trailer park. And perc2011, good point on Phantom. It felt really been-there-heard-that to me, but they still played the bejesus out of it.

There was some fantastic stuff in there. Though I'm not a fan of KISS' music (other than maybe Strutter and Detroit Rock City), Gene Simmons is someone who seems to have a solid grasp of the audience mentality. Nice find, Chuck! My flipside bit that kind of rubbed me the wrong way, though I think I do agree with it to a certain extent: Even though "they" are our bosses, "they" often like total ####. It's difficult to sift through the different "they" strata, particularly since teenage musical interest drives so much of the music economy. Much like any other job, I'd really love to tell the boss off for so many of his/her poor decisions. Heck, dogs will eat their own poop until you tell them no. Maybe the bosses need to have some good stuff crammed down their throats every once in a while. And now a somewhat-related side note that I'm curious to see how you DCPers feel about: We haven't had any angry music in the mainstream for quite some time. Historically, we had the 60s fighting the man, we had punk in the 70s rallying against the bloatedness of rock and the general class system, then we had Nirvana come around and destroy the 80s with one Louie, Louie-esque tune. The torch was kept alive by groups throughout most of the decade and somewhat into the 2000s with groups like Audioslave (and p.s., their "Like a Stone" worked beautifully on the field a couple seasons back...). Is there anyone now that's culturally relevant that I'm missing? It seems as though everything is either mindless, happy, or irrelevant due to super niche appeal.

After this post, you should have just dropped the mic, shouted "Deez nuts!" and left the thread victoriously.

Ahhh, I was using both synonymously. I guess a truck is not always a truck. And though I'm too lazy to post an additional quote, good point on the chemistry issue earlier. HUGE deal on drum corps staffs. The amount of time doing one thing when others need infinitely more attention just because two staffers who have a say in planning don't see eye-to-eye is staggering in some groups. Not to mention the overall vibe throughout the staff rubbing off on the kids for better or worse. Chemistry plays such a massive, underrated role. And relating that to the money issue, great instructors commonly go on either full-time or come in as a consultant with groups because of their buddies there more often than because of the cash thrown their way. The brotherhood element is a big driving factor. The hang means more to whether staff goes or stays at certain groups than most people who haven't taught are even remotely aware of.

The majority of the finalist corps. Second trucks are generally much smaller, and also house things like medical supplies, etc. The excess storage is super convenient.

Staff payment is a drop in the bucket of an overall operational budget. Designers can get pricier, but that's where the argument gets hazy. You can't hire a big name to design a championship-caliber show for a 15th-place corps and expect the kids to be successful. The talent isn't there. After your top 4-5-6-ish, there's a solid drop in terms of talent. I've marched and taught at both, and the contrast is unbelievably stark. Where those lesser-placing corps rise up is when they get quality staff consistency over several years. 03 Carolina Crown's brass staff didn't just come in and start winning titles. It took a decade of establishing a system and sticking with its development. How many groups actually do that? With the amount of staff changeover every few years in generally non-title-contending groups, I can't help but wonder about the strength of the correlation here. I'm hesitant to bring up more sports analogies, but look at NBA coaching tenure numbers versus winning percentage. Not only does the instructional system and player talent take time to develop, the overall culture of the team needs to come together as well. Winning takes time more than money.

Marched in TBDBITL. Marched in DCI. Even as a proud alum of tOSU, they'd get absolutely stomped in DCI in every possible way. I loved my time there, but we pretty much moved and played like ####. All you need to do to answer the OP's question is just read the rule. It's simple. Or is this just another reason to start a rule complaint thread? I dunno.

Caligula looked like a lot of fun. Bring it on. Let's do this. We'll make Lady Gaga look tamer than a PBS telethon. Sodom and Gomorrah won't have anything on the drum corps shows we'll put out.

A poor one, yes.

Was that an attempt at humor? I'm confused.

Yeah, it's pretty obvious he's a whack job. The guys tends to use the type of logic that South Park characters use when they're being unknowingly satirized. No use arguing with the crazy. Just watch, be entertained, and occasionally toss them a fish for sustenance.

Please continue to cry me a river. Your tears are salty and delicious.