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David Hill

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  • Your Drum Corps Experience
    Fan, PR volunteer, Fan, Show Director, Writer, Fan
  • Your Favorite Corps
    The next one I see, hopefully
  • Your Favorite All Time Corps Performance (Any)
    The next one I see, hopefully
  • Your Favorite Drum Corps Season
    The next one I see, hopefully
  • Gender
    Male
  • Location
    Pensacola, FL

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  1. Have always loved shows that "came out of nowhere!" When I read the topic here -- thanks, HockeyDad -- two shows that fit immediately came to mind. Had the good fortune to write 1980 album liner notes when championships were in Birmingham, where I lived for 40 years. We counted 200+ shows that I saw that year, including the 21st place Secaucus, NY Royal Brigade, offering at least half a glimpse into the future of drum corps. The music: NBC Chimes Festival, Boogie Wonderland, and Celebration Suite set the pace, but disco ball silver lame/sequin jumpsuits had replaced the "Brigade" uniform of just the year before. Still: the corps was not the Bridgeman; it had not abandoned the militaristic bearing and presentation enough to completely sell what would have otherwise been a breakthrough show for the times. But the first show that came to mind, and seemingly "out of nowhere" was from a corps that in 2003 had mistakenly attempted "New World Symphony." Phantom's classic from 1989 was still in fan's minds. But but. ... in 2004, with a musical book of Holsinger arranged by Jay Bocock and a drill by Jeff Sacktig, Columbus, OH Capital Regiment etched themselves in my drum corps heart, and into 14th place, with "Celebration of Life: Mind, Body, and Spirit." I rewatched the show before sitting down to write this. The triad was played for effect, rather than explication. It holds up beautifully today. Capital Regiment's 2005 show "Chiaroscuro!" sported a rolling prop -- just one, too small even then -- that would seem underplayed today. At the time, it felt ... well, at least to me ... as a promising precursor of things to come. Just like Royal Brigade's disco ball-themed jumpsuits had seemed in 1980. TImes like those when we all love being fans in the stands!
  2. Quiet. Best musical advice I was ever given, as the director walked away: "If you want to succeed, if you want us all to succeed, you will practice." I used it musically, 50+ years ago. I used it professionally for 40 years. I use it in retirement, with my writing.
  3. AM I DISAPPOINTED! As I wrote back in September, on the STAFF MERRY-GO-ROUND THREAD, when the Onyx/Troopers collaboration was announced, I thought/hoped that something perhaps groundbreaking was in the offing. Here's what I wrote: The summer of 71, our band director gathered sections leaders for the upcoming season (I was trumpet) and showed us the late 1960s "Here Come the Troopers." "I want us to perform like this," he said. Our undefeated season in a small, rural town in Northeast Alabama was the beginning of my high school's many-year reign in the top echelons. All because of the "cutting edge" of The Troopers. Including the cutting-edge color guard that defined the idiom before Winter Guard International took over training drum corps guards. The winter of 1986, an eight-member color guard, Onyx, presented a dear, magical, non-literal performance to "Send in the Clowns." It took more than a decade for the obsidian-named unit to become cutting-edge World Champions and to define the idiom. There is congruence, in my mind, in bringing these two organizations together at this time. Mr. Lenz' muscular, angular, acrobatic design and Mr. Combs' leadership and performer training overlayed on this iteration of "America's Corps," with its muscular, angular, Cormac McCarthy visions of the American West. Just as I am looking forward to every corps doing what it takes to make its program and organization stronger, its member experience better, and its outcomes more competitive, I am very much looking forward to the potential in this symmetry. Yeah; I'm disappointed.
  4. I received the last present under the tree every Christmas; that was just one of my family's traditions. I am a sap for the holidays, so when a hand-crafted, vintage, or family heirloom was the present, everyone was very happy! Most of all me, burbling at the surprise, at the exquisite selection, at the fine craftsmanship. Which is all I want from drum corps every year, during its summer "holiday": exquisite selections, fine craftsmanship, indeed surprises. And I'll be darned, if after 51 years of joining the celebration, pageantry "Santa" doesn't still deliver just that -- often!
  5. Did this ever bring me back to my reality: my early days in newspapers, hollering across the room of desks of fellow journalists, trying to find some information for a story I was working on. Which is one problem in the pageantry industry: there is no active media covering it. Easiest example: there is no Sports Illustrated for the activities everyone here loves and craves actual information on and reporting about. Being a niche market helps the organizations involved; there is simply not enough general interest for anyone to cover the marching arts like sports columnists cover figure skating, for example. Trish Navolny was never going to be given drum corps as a "beat," even though she broke the biggest scandal of the century. Being slap dab in the middle of "Me Too" accusations helped. But unless there had been a domino effect of further accusations across the industry for her to cover -- i.e. women and men coming forward -- she had a single, sensational story. And moved from Philly to USA Today. I first wrote for "Contest Guild" in 1978, about DCI's lead-up show to World Championships in Birmingham, AL. Continued writing for the various tabloids of the times through the early 90s. But it was PR language, intended to applaud performers, shows, and organizations, all in the hope of attracting audiences. Problem was, no one but the already faithful read "Guild," "Drum Corps World," and the now the ever-smaller, niche, online offerings. Some glowing stories I penned were edited because, "that might be misread by the corps. Can't offend them." There were no deep pockets then, and even fewer today, in the marching arts and the media in general, so hoping for an active media remains a pipe dream I have had for more than 50 years. Fellow DCPer's: thank you for often filling in as that dream of mine.
  6. Mr. Ream is correct. The entire administrative set-up of DCI is fraught. There are no checks and balances built into the system. So guess what; said checks and balances come from interested parties from outside, and inside, the organizations involved. Only problem? We have no teeth to affect change. Should be a better way.
  7. I have read every word of this thread, because of its relevance to the entire industry of the marching/pageantry arts. Am hoping, as is often mentioned, "the folks in charge" read these forums, because there is so much to be gleaned here. Something of an outline for a master's level business course. So much good thinking. But I was stopped cold in my reading with this: "When everything is a priority, nothing is a priority." It is impossible for an individual, even a collective, to juggle "everything," all the time. There need to be professionals in multiple roles. I am going to make a point here, and I am not trying to insinuate that folks don't realize all of this. However ... Whereas the professionals to lead, design, and train the performers for the show on the field are as diverse as is needed to get the job done; administratively, that is rarely the case. It seems. So many hats, so few heads on which to put them. Prioritization is key, but so is a diverse administrative staff, each of whom is a professional in their field. I come to all of this from the fund-raising/marketing position. (Forty year career) Before I get to my point, I want to thank and assure good alumni that their support, while absolutely vital to any organization, simply is unable to "save" an organization. I know; I had to ask -- twice -- for alumni support when the bottom had fallen out. It was critical to the recovery, but was simply one arm of necessary fundraising. Fundraising at its very best is also not going to totally "save" an organization, either. And except for rare pockets of very best fundraising practices, the way most pageantry organizations approach it is transactional. It needs to be aspirational; both from the organization and from the donors. People who believe in drum corps/pageantry connecting with donors who also believe in drum corps/pageantry. I have tried. Board presentations, staff trainings, conversations, roadmaps, schedules, best practices to pageantry organizations both national and local; huge and small; highly competitive and emerging. Heads nod, everyone smiles in appreciation and understanding. But when it comes to two things that are crucial: -- one-on-one, in person, relationship building; and -- understanding that fundraising at its best is never a quick fix, everyone walks away, or as someone said to me: "It is what it is." Seems to me, what fundraising "is" right now in drum corps, indeed all of pageantry, is a priority that has largely been left to emailing and the last minute. Yeah, you can have money come in that way, but what good fundraising can do, over time, is build a base of support that lasts. Fundraising CAN BE one leg of several successful revenue streams; and one that does not interfere with any other. If the personnel, priority, and time are given its development. Again, to the general consensus opinion here: non-profit leadership is tough, but the rewards far outweigh it all. Especially in drum corps and the marching pageantry arts. Yeah, prioritization is crucial right now. Including building a solid fundraising base from which to maintain, grow, and expand. DREAM BIG!
  8. I have been following this thread and reading from you folks who know much more than I ever will. Writing to ask for discussion on centralized versus federated governance, and what it will take for the historical management fever to break for the organization. My final professional rodeo -- a third of my career -- was leading marketing/fund-raising within the YMCA system. Federated: centralized standards and policies; individual location governance. National consensus building is tough. Real tough. Eight Y/USA CEOs in my 16 years tough. There was/is no silver bullet. From you folks who are in the know, what is it actually going to take for the next CEO to succeed for DCI and for themselves?
  9. My mother and her mother, both whose birthdays I acknowledged last week, were masters at predicting and game-playing. My grandmother won every contest she entered; the most famous being a motorcycle when she guessed a correct number of some sort. She was in her 70s. A photograph of her straddling it was in her Chattanooga, TN newspaper. (The store gave her the value of the cycle; she contributed it to charity.) She also won a trip to Hawaii, some kind of travel Bingo game, which she took with my cousin, in her 80s. Mother, on the other hand, usually won second or third place in contests, but where she excelled was in picking Miss America during the opening Parade of States. One view: winner chosen! Worst fumble; third runner-up. I received neither woman's abilities -- blame it on my being adopted -- so I usually don't even attempt a guess. But I love this thread every year! And hate it. Love that someone will put the Blue Devils in seventh, hate that they don't offer any reason why. With all of that as preface, here goes nothing -- absolutely nothing! Reasons, included. ________________________________ Blue Devils Gotta be a four-peat to finally stand completely head-and-shoulders over the field. Carolina Crown The roundtable was quality, solid, and safe. Deeper thinking, and programming, will do the trick. Boston Crusaders "Paradise Lost" was the world championship caliber production. Lose the Crown references. The Cadets Fifth this year was hardly under the radar, but something's brewing in the Northeast. Turn up the heat! Bluecoats I'm gonna be so very wrong on this one, but there it is. Even in the corps' fantastical performances, there is a sameness to them. Turn the mold downside up: again! Santa Clara Vanguard Any placement any of us guess for Vanguard is based on our guts. This is mine. Clean competitive slate. Phantom Regiment Turning its brand on its head, but still performing like classicists; amazing! Cavaliers So much change since The Wrong Side of the Tracks; but so much to learn from that epic production. Mandarins Finding magic in a bottle two consecutive years is tough. I may be even more wrong on this one, than with the Bluecoats. I hope so. Colts IF ... the Colts return to the beautiful nuance of The Silk Road, this placement will also be too low. Troopers Even more solid that this year, thanks to a guard infusion. The show itself will be the key. Spirit of Atlanta Of this season's 12-15, I have the most confidence in their being more spirit to come. ________________________ Here's what I learned from Mother about picking pageant winners: focus on the Southern states!
  10. The summer of 71, our band director gathered sections leaders for the upcoming season (I was trumpet) and showed us the late 1960s "Here Come the Troopers." "I want us to perform like this," he said. Our undefeated season in a small, rural town in Northeast Alabama was the beginning of my high school's many-year reign in the top echelons. All because of the "cutting edge" of The Troopers. Including the cutting-edge color guard that defined the idiom before Winter Guard International took over training drum corps guards. The winter of 1986, an eight-member color guard, Onyx, presented a dear, magical, non-literal performance to "Send in the Clowns." It took more than a decade for the obsidian-named unit to become cutting-edge World Champions and to define the idiom. There is congruence, in my mind, in bringing these two organizations together at this time. Mr. Lenz' muscular, angular, acrobatic design and Mr. Combs' leadership and performer training overlayed on this iteration of "America's Corps," with its muscular, angular, Cormac McCarthy visions of the American West. Just as I am look forward to every corps doing what it takes to make its program and organization stronger, its member experience better, and its outcomes more competitive, I am very much looking forward to the potential in this symmetry.
  11. Blue Devils Simply put, The Blue Devils are living history, of themselves and of the activity. With many of the creative staff in collaborative roles for more than 30 years, the organization knows how to mount successful seasons and winning shows. And now finally — and inexplicably, given that the Devils are the winningest corps in the history of the activity — a three-peat. “The Cut-Outs” was not a story show (plenty of those for one season), rather it showed through yet another amazing musical mix and visual panoply the deconstruction of Matisse’s artistic style over the course of his life. To say that Joni Mitchell’s iconic “Both Sides Now” has never been more relevant in pageantry is no overstatement. The song defined both the show and its representation of Matisse. And the color guard; the color guard that has also likely (someone fact check me, please) won more caption awards than any other, was in fine, and rare, form. In both embodying the Matisse cut-out figure while breaking up the Box 5 guard judging caption, the Devils prevailed over a field that was as fine as any in memory. The Cadets The soundtrack of the season just might need to go to The Cadets and its athletic and muscular “Atlas Rising.” Listen to it again — and again. Phantom Regiment Like a Franco Zeffirelli opera, Phantom Regiment’s spectacular nature-themed production begged audiences to sit back and simply take it all in. As for the addition of non-symphonic works: more please! Mandarins Sizzling across the red-hot country with its white-hot “Sinnerman,” Mandarins were as close to a social media phenomenon as happens in pageantry. Vaulting four spots was testament to theme and execution melding perfectly. The Cavaliers and Spirit of Atlanta After 75 years, “Where You’ll Find” the storied Cavaliers is powered by its magnificent “Green Machine” percussion; this year’s caption winner, and the first in ages that came from outside the top four units. Who knew we needed to see a percussion line straddle the -50- and lay down a classic "drum break"? I had given up on my native Southern corps; organizational "stuff" the likes of what had to be wrestled is tough to maneuver, even tougher to weather. And on that front, the jury is still out; time will tell. But as for taking a year off and then coming back; WHOA! What a resurgence. There looked to be pure joy on the field all season long! _____________________________ Writer’s prerogative. I hate that young and first-time viewers don’t have my old eyes (coming on 70) and my half century-plus history with drum corps with which to take in this year’s offerings. The contexts I discerned, from top to bottom, made viewings throughout the season even larger, the details popping out more completely, references clearly understood. Lucky fan I am.
  12. My drum corps origin story is on my profile, but it was 1969. Drum corps has been an enormous pleasure every year, every decade, every iteration! Don't know but that I enjoy both the entertainment and competition as much now as I did aiming towards six decades ago. Shows were different, so were the corps themselves. Judging was different, so was scoring. My best list morphs with almost every passing season, that's why my five favorite shows of my years are in the late 2010s, the early 80s, the 90s, 2000s and, of course, the late 60s -- from whence my love began. I love thirteenth place and fifth place units. One hit wonders, classic units (and their alumni corps), and -- yes -- the corps that has defined the DCI years. If I got too pinpointedy I might become jaded, too. I enjoy the corps, the shows, the venues, the competitions, for what they were, and are, in their moments in time. Admission. There is one thing though that I simply cannot bear: simply not trying. If a corps stages a show that suits the talent level of its members (meaning, they can, by season's end, perform it really well), I love 25th place. And the Colt Cadets! I'm an old guy now, but please don't think I'm extinct over age and interest in the activity. You should have been my seat mate while I gasped in amazement and wonder this year over ....
  13. To go along with the most championships in the DCI era, hoping for four-in-a-row; unmatched. Clearly possible.
  14. Years ago, I wanted Cadets to stage Sondheim's "Company." I thought the corps' New York vibe (often) would work. Well that, and April's spectacular guards. No corps is going to stage a complete show, at least in its original form. Crown's "Echoes of Camelot" could have used a power-chord dose of "If Ever I Would Leave You" from the musical "Camelot." So what I would love to experience: the Blue Devils' take on anything Sondheim, their way. Sure, one tune, or musical references from the origin material would be great, but it's how their designers conceive ways to relay theme or story through multiple musical styles that elevates every production! Full-on theater? Sure. The drum corps way.
  15. Sixty-five years after its radio premiere on CBS -- which was 13 years after the original charter of The Holy Name Cadets -- today's launch of the online book, "Story Of The Cadets" recreates "You Are There," by blending history with modern technology, taking an entire organization on a historical time warp, and reporting the great events of the past. In reading, seeing, and hearing -- through audio clips of interviews, music, and story-telling -- of the organization's founding, its history, and its present, "Story of the Cadets" becomes a "you are there" way to relive the storied, multi-champion's trip through time. It is available at theholynamecadets.net, beginning tomorrow. Co-authors Greg Cinzio and Dave Shaw had the organization's archives unlocked for us all. Using written and oral histories, photography, audio and video recordings (there are no performance videos), the "maroon world" of The Cadets comes to life as a "live" documentary, both written and enhanced with interactive media. In doing so, it also becomes the most compelling experience and education in drum corps' history. The timeline of any organization takes its share of twists, turns, shake-ups, and change. In this unvarnished look at the Cadets' trajectory from parish program to independent organization -- replete with its highs and lows -- the reader "is there" to see how, and why, this unit evolved from a community-based effort to its current status as a leader in the marching arts. From "In the Very Beginning" to "The War Years," "The Separation from the Church," through "The Early DCI Years," the first half of the story, and the book, provides a comprehensive, and illustrative, outline of the business -- and heart -- of the organization. Early practices remain today, providing guideposts even in the twenty-first century. For me, this is the strongest half of the book. Certainly for those of us whose history with either The Cadets, indeed with the drum and bugle corps activity, only reaches as far back as the development of Drum Corps International, if not the early 1960s, the question "Why doesn't the activity return to its roots?" is answered. The second half of the book becomes a primer in competition, offering "Transition back into National Prominence," "DCI Trendsetters," "The Modern Era Cadets," and "The New Millennium." Designers talk process, teachers emphasize motivation, directors explain scoring and placement, and all along, in every era, performers exude pride and appreciation in the experience;" in being "a Cadet." The last three years of competition, a fascinating triad of 75th anniversary, toy soldiers, and the tenth championship seasons, complete the "book." Appendices provide bullet-point timelines of directors and corps officers, milestones, and repertoires. But for the primary audience for the book, alumni, the first appendix, "The Cadet Experience" will resonate the most. "The Story of the Cadets" should resonate with anyone who lives, and who values, the drum corps experience. For in its "You Are There" presentation, each of us can relive the 77 year history of the corps and the organization. Indeed, we can all share in the feeling of the corps hymn: "For Holy Name shall always be …." This is the season opener before the season opener! Experience it, beginning tomorrow, at theholynamecadets.net David G. Hill (Full Disclosure: A review I wrote of the 75th anniversary production is included in the book.)
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