arrangerx
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To the members of The Academy:
Thank you for a beautiful and entertaining performance in Denver!
You are my favorite show of the season!
Best to you all and enjoy the ride!!
Chuck Naffier
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Film Documentary "No Boundaries", a film about the Colts Drum & Bugle Corps experience, with footage of the 2012 season interspersed with interviews with former directors Jim Mason, Greg Orwoll, many members from that season, as well as some other former members (JJ Miller, Chuck Richards and yours truly) is premiering in Dubuque next weekend.
Look for opportunities in the near future to get posters, DVDs, etc.... for more information, head over to http://julienfilmfest.com/https://www.youtube.com/watch?v=GzH2ndpL6d4
Chuck Naffier
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https://www.youtube.com/watch?v=evYgJ9We60c#t=852
Moderators, I'm sure there's a place for this.
The intent is to start a conversation, or at the very least, recognize the similarities we have with other types of musical entertainment.
And yes... I've been discovered. I had all the KISS albums as a kid.
Chuck Naffier
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Hold on a second...
Have drum corps EVER survived on their performance fees? Has any arts org done so? Under your definition of success, the drum corps activity has been broken since the very first one formed on the largesse of the first dedicated group to form a corps. I see nothing in the history of drum corps (and, yes, I've read both of Vickers' books and several others on the subject) that indicates that a primary goal of the sponsoring organizations (Catholic, VFW, or DCI) that was aimed at having the activity support itself via performance fees.
I'm a firm believer that the BOD should be left alone, without outside pressure, to hammer out the deal best for the whole activity. But when Hop puts himself out there on Facebook to promote his viewpoints, he's fair game IMO.
After all, he seems to thrive on "castigation". If it's a waste of energy, it's only because we give him what he wants.
Signed,
40 year participant
The drum corps activity isn't broken. Maybe a little worse for wear, and a couple of bloody noses... but not broken. Yet.
The touring model and amount of money we're charging for the experience is broken.
When the organizations involved start to realize how many more kids/adults could be helped in their own back yards with the millions of dollars being raised, rather than paying bus companies, fuel conglomerates, and the like.... then we'll start to see the emergence of something more sustainable, and in the long run, more valuable to our culture and society.
If one accepts this model:
(Lose money touring) ---> (Lose corps for lack of money) ----> (Keep current tour model)
: then we are going to experience a very predictable demise.
To do the same thing over and over... and expect different results... (fill in the blank as you wish).
Until the cost of doing business is more sustainable, (food, insurance, equipment, facilities, travel, fuel, staffing) we have a problem. And the mention of performance fees is CENTRAL to the existence of that famed G7 group, that needed more and more money to feed the beast. Let's not pretend there's a more altruistic reason. The scheduling of shows by DCI that favor the "haves" is directly related to generating more performance fees to be split among the participants at that show. This is why I mentioned performance fees.
I find drum corps an amazing vehicle for growth... musically, spiritually, physically, intellectually, aesthetically, experientially... but we need to find a smarter, more sustainable way to offer those opportunities for growth without killing ourselves off in the process.
"Fair game" isn't the issue... debate and throw daggers until the cows come home.
Whether or not one agrees with George... the future is coming... hope we're ready.
It's a beautiful thing we have here, but there's no guarantee we're going to pass along a viable activity to the next generation... and they should really have that chance if at all possible.
Perhaps instead of fighting over an ever-shrinking piece of pie, we should figure out how to make more pie... and THAT... is what forward-thinking people are trying to do on all sides of the issues.
best,
Chuck
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The "crisis" is this:
It costs too much to march in a drum corps now.
It just does.
It costs too much to tour.
The "design" costs at most drum corps are under 10% of the budget. Seems like a pretty reasonable idea that the actual development of the product that is basically the engine that allows the experience costs less than 10 cents on the dollar.
However... George is right in a lot of ways.
The current drum corps model is unsustainable.
We've known that for a very long time.
Regardless of what goes on behind closed doors in a board room, the energy wasted on castigating one passionate man seems misplaced. Replace the current touring model. If corps are surviving on the modest performance fees they are receiving (they are not) then the model works. If they can't, then the model is broken.
Chuck Naffier
35 year Participant
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I used Mysterere of Bulgarian Voices for multiple marching band shows in the 90's.
Always tried to introduce it to drum corps through either the Colts or Crossmen in the 90's and 00's.
Never any takers...
:)
Someday...
Chuck
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Hi Kate,
Go to www.crossmen.org and ask for information.
Always go to the source - second-hand information is usually inaccurate.
best,
Chuck Naffier
Crossmen Brass Arranger
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Just playing devil's advocate here, but I was the brass arranger and caption head for the Colts during their first break into the Top 12. Made it 3 times including an 8th place brass finish BEFORE I finished school.
Pieces of paper mean little. Ears, knowledge and passion do. While I will not put the cart before the horse, I expect very good things from Anthony and the staff/consultants he'll be surrounded with.
Best,
Chuck Naffier
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I don't recall it being a synth for Boston -- it was the use of batteries to run the resonators on the vibes on that Herbie Hancock tune.... wasn't it?
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Performing their 2014 program: "A Festivus For The Rest Of Us", Drum Corps International is proud to present the BLUE DEVILS!!!
The Blue Devils will have narration in their show admitting what they don't like about the other corps.
Blue Devils will score a 99.40 with this show, marking yet another Festivus Miracle!
...BIG PROPS TO THOSE WHO GET THIS.
A band here in Illinois, Naperville North, did a show titled "Festivus For The Rest Of Us" in 2012. Dan Moore, the director, was the Geneseo Knights soprano soloist the 1985 season and later taught that brass line.
Chuck Naffier
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Let's leave Ray alone now. All is good.
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Ray,
Thank you. There is no tone to the written word. Thus, you and I probably sound more hyped up to everyone here than we really are.
Let's go make some drum corps better now.
All the best, and say hello to your daughter --
Chuck
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Man it would be incredibly hard to see Chuck writing for both Colts and Crossmen... that is pretty close to an untenable position, and he has always seemed to be a classy guy.
Personally not seeing it, and agree with you that this corps I followed all year and liked a lot may have lost the strongest part of their staff in the brass people.
Hello Ray,
I'm a professional music arranger. That's what I do to pay the bills. My passion is to arrange and compose. This isn't about playing "favorites" or some odd concept of competition. The Colts and Crossmen are not guaranteed to be competitive in the future. Far more than brass arrangements will be the difference there.
Do you honestly think Jay Bocook consciously thinks about how he'll write a better book for the Cadets than the Blue Knights? How about Robert Smith writing for Madison and the Troopers? Think he tanked one for the Troopers so Madison wouldn't have as much competition?
Do you even know me? My mission is to provide the best for the members, regardless of color of the uniform. Do you think I would abuse my trusted position for something as meaningless as a score or placement?
Kind of insulting my friend.
Chuck Naffier
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Fact is -- no two books are equal, and no two corps have the same level of talent in every section.
And no two judges see/hear with the same experience, tolerance or knowledge.
Let's just hope they both have cool shows!!
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Dear Crown Phan.
Whatever it is you think you know, you're wrong.
The Crossmen were lucky to get such a consistently strong person to put them back on the path to success with their brass program.
Having a strong, informed, knowledgable opinion seems to be misconstrued as "trouble" by too many who seek comfort instead of excellence.
Drum corps is the last place you need sheep leading the next generation of performers, teachers, writers and leaders.
Chuck Naffier
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Just checking in... saw a question about my involvement.
Brass arranger 2000 - 2003, 2011 - 2013
Co-Program Coordinator with George Hopkins 2002
Long history of great teachers and writers at the Crossmen. I was always a fan of Jerry Kelsey's work, Frank Dorritie's work, as well as Matt's charts.
Dean Musson was responsible for the sound of the line from 2000 - 2003, along with his staff members:
Dean Musson
Evan Rogovin
Joe Exley
Mike Ary
Aaron Goldberg
Drew Ross
Mickey Chez
Alan Chez
Bill Boandl
(forgive me for not remembering every name)
Jason Buckingham did wonders with the program the past 3 years, and I'm proud to call him my friend as well as my musical brother.
best,
Chuck Naffier
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DCI is held in the Eastern Time Zone.
:)
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I'm not surprised either and I'm happy to see that they're still so close to 12th. Once all the stuff they're adding is finally cleaned up and the show sees it's potential, they can take it straight to finals.
Learning to be a finalist all season long takes everything a person has.
You dig deeper than you thought you could. You give more than you thought you have.
You feel pressure, both internal and external. All your emotions live on the surface.
The bad days you look behind you to see who's on your tail.
The good days you look ahead and think "we can do this!"
The Crossmen are growing up this summer. It's easy to be the Cinderella.
Ask Colts, Troopers, Spirit or anyone else who remembers the manic joy of making it for the first time in a while... and then go on to a new season.
Much to get done -- it's simple. March well. Play in tune. Finish your phrases. Catch what you throw. Make Finals.
To mix metaphors... "Keep your eye on the ball... the fat lady doesn't sing until Friday in Indianapolis."
And whatever of that particular tune... the Crossmen grew up this year in every way.
Never again the wide-eyed "everyone loves us"... only focus on the goal. Greatness.
With intensity.
Chuck Naffier
Been down this road before...
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I still remember your opening set in 1983...one of the best of that year.
That would be awesome! But...pretty sure that's not the same Alliance (Greater Massachusetts Area) from 1982/1983. That was a consolidation of several folded eastern corps, that went belly-up shortly after the 1983 season. 14th place... and poof. They played a Buddy Rich tune... and George Zingali wrote their drill.
best,
Chuck Naffier
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To the staff and members of the Santa Clara Vanguard:
Yes -- it's a gushing, wild-eyed fan letter!
Thank you for being THAT corps! THAT corps that I tell my friends about when they say "What's a drum corps?"
Percussion is SOOoooo sweet... colorguard hit every emotional milepost... the brass was gorgeous... and the show... (VAN - guard on the other side of the field!)
I am a fan of Les Miserables on the stage. The movie? Not so much. I had my doubts. I had my fears.
And...
When the entire corps stood behind the backdrops... and the guard took over the field alone... I had to wipe away the tears... emotional at the beauty and expression I was witnessing. You were THAT corps that I remembered the Vanguard always being from the very best years.
I know you may not be where you want to be yet competitively... but you became my favorite corps of the year in San Antonio.
Pure joy!
Thank you for being THAT corps again!
Chuck Naffier
Drum Corps Fan
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Crossmen themselves did some late season drill changes that added nuance to the 92 Earth show - the transition to the huge Question Mark on the field with the globe being balanced at the bottom...
Not saying it can't happen... and don't shoot me, but I didn't see a lot in the drill that came out of San Antonio to make me super optimistic that those types of adjustments would be made. But... it can happen. And as you say, we'll see soon enough.
My fingers are "crossed" (see what I did there? Not bad for 61, huh?)
Good morning, All!
Indeed, the Crossmen are on day 3 of mid-season changes. What will you see and hear? I won't give away anything specific, other than that every note and step of the closing 2 1/2 minutes is different, and many more things to come over the next 2 weeks in many other parts of the show.
Having been through the wars a few times myself, I will not predict where this will all end up in Indy, but I will say that, just like last year, there is an opportunity to add, refine and get better every day of the season due to the nature of the theme and the demands placed on the performers. Just like last year, there is no worry about "peaking early". It's a marathon, not a sprint.
Last year (2012) was a "buzz" year because the Crossmen got SO MUCH BETTER in one leap. They were the proverbial "Cinderella" corps. You get to enjoy that spotlight once on your way up. The Crossmen were a surprise to some, and capped it off by edging into finals. They were a finalist for 11 1/2 minutes last year. This year, the pressure of having a target on your back the whole year, and being taken seriously all season long with the expectations of the audience members and judges, is something real.
I've done this before -- a prime example was the 1993 - 1994 Colts. For those wanting the history lesson, the 1993 Colts jumped into Finals for the first time (12th) on the heels of a 20th place season in 1992. Tears in the parking lot, screams from the audience, excitement, and rose-colored glasses looking back at it all. 1994? More auditionees than ever before, full corps out of the gate, harder music, drill, percussion, guard. Expectations high! They finished 12th again... with lots of tough lessons learned along the way that set the table for greater success shortly after that. But what rose-colored glasses do is this: They tend to mask memories of all the hard work that went into it for the vets, and it tends to make the new members think they are joining something that will just click because they saw the group so good the year before. It takes 1/2 a season to realize that "OH YEAH! This IS a lot of work!!" For the staff, the challenge is to remember that the show takes time, and that we didn't magically populate the corps with all 21 year olds. It's a process...
The cool part? The members of the Crossmen are now starting to get that confidence born of experience. The staff and writers are being very honest and objective about what's working and what's not. The rose-colored glasses are off... and the boxing gloves are back on. What you saw the first part of the season was like trying on a new suit... not quite right... little tight here... little loose there... and this last week has been about taking it to the tailor and the cleaners. 4 1/2 weeks left, and nothing but positive momentum... a good place to be.
Much to do, and all worth it!
Ducking back into my arranging hole...
Chuck Naffier
PS: Ray Fallon -- I had the chance to work with the pit for a few hours on Monday -- and told way too many stories to your daughter and her friends in the back line. :) If you come out to San Antonio rehearsals next Friday, please stop by and say hello -- I'll be the one in the most hideous Hawaiian shirt telling the hornline "LOUDER THAN THE SHIRT!"
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Hello All,
The team creating a new documentary of the Colts Drum & Bugle Corps is searching for any archival footage from rehearsals, local performances, or anything else that may have the following material:
Greg "Harpo" Blum playing any soprano solos from 1980 - 1982
David Lang playing and baritone solos from 1983 - 1985
I am in possession of a taped broadcast of the 1984 Bloomington, Indiana show which includes David Lang playing "Night in Tunisia" and "Stardust" which may be salvageable... but am throwing the doors wide open in search of any existing video I may be unaware of.
In 1981, the Canadian Broadcasting Corp broadcast the 1981 Finals of DCI Canada in Hamilton, Ontario that year. That would be a goldmine if it exists anywhere out there.
Thanks all,
Chuck Naffier
Colts Alum
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very cool look!
Chuck
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So if 600 folks auditioned, paying an average of $200 in registration and camp fees, and only 150 actually made the corps, that leaves 450 folks who paid $200 to the corps and got scratch. That equals at least $90,000 clear profit for the corps without having to provide any services other than a camp that they would have conducted anyway. That my friends is good business!
Here is what they received (as opposed to "scratch"):
1) Professional brass staff input and instruction for a total of 14 hours.
2) Individual auditions with actual scorecard input and ratings to help them understand what to work on next.
3) The chance to push themselves for an entire weekend to see if this is what they expected/wanted.
4) 5 meals/2 snacks
5) An unforgettable experience of playing with a top tier brass and percussion line -- where no one sits and watches.
Unlike some places, you don't just show up and get cut on Friday night and mope around.
The approximate 450 auditionees who did not make it got all this and much more. The majority of them came back a couple of times because the experience is worth it. We didn't have to twist anyone's arms to show up -- it's made very clear in advance exactly what the auditionees will experience. They are treated with respect, given excellent instruction, given tons of information about how to succeed -- and encouraged to be their best, whether they make it or not.
There are precious few places you can go for that little money and get the same experience outside of drum corps. If it was a bad experience, or something not worth the money, word would quickly spread, and we wouldn't have the auditionees in the numbers that came out this year.
Perhaps coming to one of these camps in person would be advisable to really understand what's happening in today's drum corps. It sure isn't anything like when I marched and first started instructing.
:thumbup:/> :cool:/> :music:/> :whistle:/>
all the best,
Chuck Naffier
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Thank You
in DCI World Class Corps Discussions
Posted
I have requested that my name be removed from the Genesis Website.
While I respect the efforts of the members, and was so happy to have met and worked with so many of them, much of the current production no longer reflects the creative process I was involved in during the winter. That is neither praise nor condemnation.
I merely prefer not to take credit for something that isn't mine.
I wish all the members of Genesis a safe and successful remainder of the season! You are truly wonderful people and musicians - make the most of your remaining weeks!
Sincerely,
Chuck Naffier