Willie85

Of This OP I Believe: Constantly Risking Absurdity

If current programming trends continue, no doubt some corps will incorporate all these into a single show. (Sorry couldn't resist ) Some great picks though - particularly the McPhee, Britten, and Mahler, yes always more Mahler. And Bruckner too for that matter. And yes, would like to see Gmen get back on their Kodaly kick.

What? You consider cutting 20 hours of music down to 11 minutes more than a slight alteration? OK, fair enough. Still, it seems a bit of a red herring to claim that any arranging is "chop and bop". The question isn't "to arrange or not to arrange?", it's to be or not to be musically coherent. To stick with the re-animated corpse analogy: you can end up with a Sleeping Beauty or a Frankenstein. Although, yes, as you point out, beauty is in the eye of the beholder. It doesn't seem very productive to dismiss other's point of view as canned criticism. Seems like doing that is an instance of canned criticism in itself. A wise person once said: "Obviously some people disagree, and that's kind of where discussion comes from."

Again, I agree that a certain amount of cutting has always been a necessity. You don't put on a drum corps version of Wagner's Ring Cycle (Phantom '97) without a cut here and there. It's the "to death" part that we seem to disagree on. It's convenient to insist that the slightest alteration of the composer's original score constitutes "hacked to death" and "chop and bop", but that doesn't ring true to me. Certainly the likes of the Cadets' twelve minutes of Appalachian Spring in 1987 still have some musical life in them. And the term "chop and bop" has taken hold because it's a spot-on description of a particular arranging style, not the act of arranging in general. It's been a while, but I don't remember anyone complaining about the overabundance of "bops" in that '97 "Ring" show.

Good one! Incredible, eye-poppingly brilliant guard work. I've never seen anything like it before or since.

Feeling particularly sarcastic tonight... Synths will give them the artistic freedom to capture that brassy, jazzy sound of 1930 that a drum corps like the Blue Devils haven't previously been able to reproduce accurately with the limited creative resources at their disposal in the pre-synth era. I agree that a certain amount of cutting has always been a necessity. It's the "to death" part that seems to be a more recent phenomenon.

Don't count on it.

Hmm, not really a drum corps "song", but this is the first thing that came to mind - probably because it was a hit for Bob Seeger my age-out summer: Stood there boldly Sweatin' in the sun Felt like a million Felt like number one The height of summer I'd never felt that strong Like a rock I was eighteen Didn't have a care Working for peanuts Not a dime to spare But I was lean and Solid everywhere Like a rock My hands were steady My eyes were clear and bright My walk had purpose My steps were quick and light And I held firmly To what I felt was right Like a rock Like a rock, I was strong as I could be Like a rock, nothin' ever got to me Like a rock, I was something to see Like a rock

WOW! and Duh!

I hestitate to call any show less than entertaining. Mine are more like WOW! moments in otherwise wow! shows. The kind of moments where you remember exactly when and where you first saw it: Another one: '81 27th Lancers, Niner-Two -- WOW! (Whitewater Prelims) Also: '80 SCV, Don't Cry for Me Argentina -- WOW! (Birmingham Prelims) And: '90 Star, Belshazzar - the very opening statement -- WOW! (DCM DeKalb) And one more: '83 Phantom - Serenade for Strings -- WOW! (DCM prelims DeKalb)

'89 Regiment

1989 Blue Devils - "If We Were In Love". Not that the rest of the show is weak, but oh my god.

Cool. Timely. Hoping for a reprise of the '88 'Happy Days Are Here Again' arrangement - sans balloons.

Aww c'mon cow. A tool, maybe - but, unlike most, an entertaining, thought provoking one. And I know you're not such an unsentimental hard@ss as you let on: I've seen your 'other' sig line. I guess I can understand a bit of anonymity in your case, 'cause I've seen the private security detail you need to attend drum corps shows with. But then, not all of us have a drum corps fatwa on our heads.

Well said. I have signatures permanently turned off in my settings anyway, so I browse blissfully unaware of disclaimers, artistic credos, favorite colors, shoe size, and whatever else people put in there. Still, I think posting a disclaimer or withholding your affiliation is pretty much saying "I reserve the right to be a tool in the way I express my opinion".

Maybe the sole vote, but I got to go with one of my personal favs - 1985 Blue Devils. One of most beautiful overall DCI presentations ever in sound and visual: The Emerson, the first "First Circle" (actually the first drum corps use of Pat Metheny's music) and those butterfly wings. hm: 1980 Bridgemen

SCV 2003 hm 2000 BAC

Activate: HEAVY SARCASM WARNING Yeah, like these forgettable fourth place efforts that nobody talks about anymore: 2008 Crown 2006 Bluecoats 2004 Phantom 2001 SCV 2000 SCV 1993 BD 1992 BD 1991 SCV 1989 BD 1988 Cadets 1980 Spirit De-Activate: HEAVY SARCASM WARNING

MAV, I had tickets to that Civic concert too, but skipped it. It just came up too soon after the SBYO concert. I'm guessing their Berlioz was at least as good or better than the SBYO's Ravel, but I just wanted to savor the buzz from Friday's musical fireworks a little longer. Yeah, I love those terrace seats too. Great for conductor and section watching. Almost like being inside the orchestra.

Same goes for '85 Suncoast. That show probably had more influence on what drum corps looks like in 2009 than even '83 Cadets. Tough call between those two, but I got to give it to '85 Suncoast.

That's right. According to the program, 90 children's orchestras (age 7 to 16) and 130 youth orchestras (age 16 to 20). Bigger than drum corps is in the USA. And 75% of the kids live below the poverty line. I'd previously seen Dudamel conduct the Chicago Symphony a few times. He's the real deal. Some of his interpretations are kind of youthful compared to the older, established names - but always musical and engaging for both the musicians and the audience. And it was abundantly clear that he bent the accomplished pros of the CSO to his musical will as easily as he did the kids from Venezuela.

Good analysis Cow. I kind of approached it the same way. So many to consider, but I figured, yeah, it's got to be a "Slaughter" year. To me that tune defines them even more the either of the "M" tunes. My first instinct was to see if they ever did Slaughter and Malaguena the same year: case closed -- but no such luck. I have no problem with their past penchant for pop ballad closers. Hey, they're from Wisconsin -- no one sells cheese better. They even managed to infuse "Cats" with testosterone - no mean feat. By default, I have to go with 1975. I never saw it live, but I have to bow to its legendary status.

I just had a flashback of the giant-turbaned, biblical sultan outfit that Bill Cook wore to the '90 Bloomington Show.

Good one! It was almost worth loosing Southern-Fried Spirit to hear them present that music on the field. Or Sacre du Printemps - we need a good human sacrifice on the field. As I vaguely recall, a corps or two has had mild success with some obscure opera of his about a gypsy and a bullfighter.

You're not walking alone. I thought '97 was good - but not "El Toro Caliente" good. And '99 was good too - just not Madison OTT good. I just felt like it could have been even more than it was. Of course, I may be heavily biased toward the Knights '85 JCS.