Kamarag

That is correct.

None of this is Tresona's fault. At all.

Nope. Just discussed this with my sister, who is an FBI Special Agent.

Not true. FBI clearances, which are required by most (if not all) states, will contain this info.

Not for clearances they don't.

Why do they even need to do that? All corps follow the laws of the state in which it is based. DCI releasing a statement would me utterly meaningless.

If DCI were to adopt a policy, it would have to be fairly broad, as different states have different laws when it comes to clearances and reporting. Frankly, all drum corps should require at a minimum the same clearances required of professional educators, subcontractors, and volunteers in the state in which the corps is based. Mine does.

The only one embarrassed here is you. Stu and SkevinP are correct.

Well, that would depend on what Tresona's costs are. Remember, they have to pay the publishers...that's the whole point.

Username checks out :)

No. Educating you is it's own reward.

People say stuff like this a lot, mostly when they don't understand how the different forms of copyright clearances work. Essentially, it boils down to this... 1. The Cavaliers are only responsible for securing custom arranging rights. This allows them to program a show with the music licences. 2. The Cavaliers are not responsible for securing synchronization rights. That falls to the producers of the DVD. 3. Custom arranging and synchronization rights have nothing to do with each other, and different publishers may have different policies in place dealing with them, both in general, and related to specific music/composers. 4. Only arrangers/corps can apply for custom arranging rights, and only producers can apply for synchronization rights. In this case, The Cavaliers can *only* apply for synchronization rights if they plan to produce their own DVD. And even so, the ultimate answer may be wildly different for a single corps than it would be for DCI. 5. Custom arranging rights come in two flavors: Stand alone, and medley. Intent to use a piece of music in a medley can have a different cost, or even outright denial from the publisher (mash-ups are considered medleys), even when stand-alone arrangements are granted. 6. Synchronization rights are often only granted *after* the performance is complete and the recording is submitted to the publisher for approval. Obviously, this would impact DCI in a very big way. So yea, it's not as simple as saying, "Those darned Cavies...picking a tune that wouldn't make the DVD!"

It didn't get "hit by copyright". There are two likely answers, if indeed that piece won't be appearing on the DVD. 1) DCI (as producer of the media) were denied synchronization rights for that piece by the publisher. 2) DCI decided the asking price for that piece was too high. The Reddit poster claimed DCI got hit by a take-down notice, which would be ridiculous in this case (take-down notices are for DMCA violations online). I'm now waiting for someone to take shots at Cavaliers for choosing a piece that wouldn't get cleared for use on a DVD, despite the fact that those rights aren't the corps' responsibility.

...and therein lies the problem. I *love* how class A is supposed to be adjudicated. But there's a real problem when you run across the bands that are in A class to develop the performer, but that already excel in design. I don't think the circuit does a good enough job with serving the needs of that (admittedly small) segment of the band population. I'm not talking about bands that stay in A class for years...I'm talking about the ones that are using A to develop with the intent to move to Open sooner rather than later. Many of the circuit's judges don't know how to derive commentary for those bands, and it's a problem. Note: I'm not really talking about the numbers, just how the commentary is applied via the sheet.

This is how the sheets currently work. Variety of effect (and variety of skills displayed) isn't about doing all of the things that everyone else is doing, it's about doing *multiple* things and doing them well. It rewards corps that aren't one-trick ponies. Of course, the "But they don't march 5000 pages of drill!" folks hate this approach, but I think it's the right way to do it. Master several different things instead of just one or two. Corps B doesn't have to do the things Corps A does to be successful, they just have to figure out how to display many skills and effects within the Corps B style.

Competitively, it will likely stay outdoors (though the indoor stuff may expand). The only real difference is Friday night performances, and either eliminating those or shifting to halftime at other games (soccer, etc) is a possibility. I know at my school if football was to disappear, it would ultimately have little impact on the marching band aside from the Friday night aspect.

Variety of effect and variety of skill displayed are rewarded within the context of the show.

No, that is not how Open Class was created. Ultimatums from the World Class directors...that's just laughable.

Interestingly, the Open Class directors would disagree with you.

The hill won't be a big deal for corps, as the set up DCA has planned keeps equipment trucks in the lots at gate-level.

The college band festival has been this big for at least the last ten or twelve years.

Yea, that's just an ignorant statement, especially used so cavalierly as a blanket.

I hope no one ever shows Stu any videos of a band like West Chester University...he'll have an aneurysm.

Stu, of course, being the Michael Bay of high school band show design...

Actually, in my area it's becoming more and more common for the competition show to be perfect for Friday nights. I know I design with that in mind, as does almost every band we meet as the season progresses. BOA bands are not the be-all-end-all, Stu (and many, if not most of those bands have perfectly fine Friday shows as well).