jbentley0025

I was cut from the Cadets in '95 after two camps. I went home, marched Bluegrass Brass senior corps (who's season ended at DCM finals). I packed a month's worth of clothes and took it to a show in Seveirville, TN and went to every souvie trailer asking if there were holes. The Crossmen said yes, I auditioned for Barry Hudson after the show, and got on the bus. Rest is history, I guess.

Firebird is a post-show exhibition tune. The show's called 'A Family Goes To Disneyland." It's the story of a family that used to road trip in a decent, but expensive car that barely fit them. Then, they get a far more affordable and comfortable family wagon with a new paint job and great gas mileage. Fun times had by all, running, loud notes, "CHAK, BU-BOOSH", horns down, drums do an 8 count smack-someone visual, and they score a 31.528π. On topic, I really enjoy the sound of the instruments. I love that they're shiny, new, and something a kid in the hornline can be proud to take care of. That may not mean much to people, these days. I played a beat to hell and back Kanstul mello that I really hope is melted down into pawn shop jewelry. I'm happy for the horns. They deserve far better than drum corps budgets can allow, but this is a great year for them. They're motivated, humble, and willing to give any comers a demonstration of the Jupiter/BK quality. Jason

This is biased and only supported with what I know about the BK. Cavies (Cause I want Hinshaw to do well) BD Crown Cadets SCV Phantom BK Madison Bluecoats Boston Crossmen Blue Stars Yeah, I teach BK, and I'm Crossmen alum. I told you it was biased. I love this game.

Well, I have something to say about all this. :) I know the horn line is going to be a strength. People always tend to overlook the connection between brass and visual staffs. What Brad's staff and my staff do is work in concert. These kids are going to move well, and, as a result of the approach, play well... simultaneously. The beautiful thing about all this is everyone on this staff has been at the top of the game. Talk all you want about Sully's approach to visual design being a detriment to the brass program, but there is very little proof in the punch for that viewpoint. We expect people to want to be the best players on the move. We have to staff to deliver the info to get that done. The best part is we have a 'coalition of the willing' auditioning for the corps. I'm looking at the most coachable and willing group of auditioning kids in my three years here, every month. I have to tell you all that I'm excited about this summer. Later Jason Bentley

Seems the consensus is we don't have the visual juice, this year. Well, for being in year two of a total technique overhaul, I feel pretty good about the corps. The visual package is plenty hard, just not in ways most folks pick up on. Tempo changes alone separate us from all others, and we have to change style musically all the time. Yeah, that is supposed to weigh in your score. It usually doesn't this far in the ghetto of the top twelve. I'll take whatever placement, though. Kids march and play their butts off, and we don't make oil paintings out of audiences. Also, we retain the hell out of kids, so we will be giant slayers one day soon. There is a ton of championship experience on this staff. I love that we are such a frequent topic of conversation! JBentley

I'd really love it if a drum corps did a Johnny Quest show, but used the music of Tori Amos. Any thoughts?

I figured the drum corps crowd would dig it.. there are melodies.

I'd like to see the show Glee on the field. Anyone else out there?

Well, I'm curious how the rules changes will affect the activity. The breakdown of the visual sheet change is the one that most affects me, and my job. Honestly, it kind of codifies what's been happening anyway. The past decade has seemed to generate a really tangible effort from the judging community to pay a lot less attention to the 'what' part of the visual sheet. I should rephrase 'pay a lot less attention to' to 'avoid crediting' the 'what' part of the sheet. Usually, the defense was a lack of execution preventing credit of what performers were attempting, accompanied by an effort to push execution and achievement into an absolute black or white. My impression is some individuals in the visual judging community are not aware or familiar enough with some efforts to credit them when they are achieved perfectly. Honestly, I was really hoping to keep on a track that the instructors and judges talked about at the rules congress in Orlando, a few years ago. I think it was Lee Carlson that articulated it perfectly with the analogy of a 10th grade B in math being of a greater value than a 6th grade A in math. I think a possible positive of this latest visual sheet change is to take a departure from achievement being spoken of, or credited in absolutes. I would rather there be funding for required judges training in what efforts they are seeing and what it takes physically and mentally to achieve those efforts. An initial feeling I have is that we're forming the judging sheets to fit the existing judging community, more specifically, the bottom percentile of awareness in the judging community. I think that having access to the judges before the show is a step in the direction of making them more aware of what is going on on the field. I would certainly love to see that taken a step further with judges attending rehearsals to observe and talk with the staffs of drum corps to really get inside and see what kind of efforts are going on out there without the advantage of uniforms to hide or aid performance ability. These are obviously my opinions, and are generated from my experience as a performer and teacher in this activity. They in no way represent the views of drum corps that employ me. I am optimistic that these changes will expose things that we need to address in the future, and will lead us to a greater understanding of the visual caption. Jason

87 Garfield. Easy choice cause I love Zingali/Sylvester reshapes.

This website is way too Disney for a thread like this. J

I had to do it. I think the mojo superstition is the most ridiculous thing I've ever come across. Why would you give the world a big red button to push that brings the demise of your bus tires and equipment trucks? Let's start embracing the reality that there is no luck, good or bad. Tires blow, people fall off scaffolding, truck doors slam on fingers.. 'stuff' happens to every drum corps at some point. Any thoughts, or tangible evidence of the mojo phenomenon?

What 'm' word? Mojo? Jbentley

Jersey Surf has my favorite ballad, cause there's no ballad. JB

Just like kids who used to load and unload chimes are cheering right now.