David Hill
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Posts posted by David Hill
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Here for the parsing are Field&Floor's personal bests from 2010: in the annual mash-up, drum corps V color guard
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Here for the parsing are Field&Floor's personal bests from 2010: in the annual mash-up, drum corps V color guard
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This is a bigger issue than many folks want to admit; here is how I weighed in after other such incidents in marching pageantry.
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GIVE US THE CHANCE ... to come through?
If it's good enough for the ballet, surely it might help ... drum corps?
Curious, and essential reading, to consider with the topic at hand. (With links)
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A MUSICAL MUST READ (with link) for a Labor(less) Day weekend.
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Just published in the DCI Championship Championship issue of Drum Corps World: my review of the only pre-championship all-in competition of the season: Southeastern Championships!!
To "august" Augusts in drum corps
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Winner and event review champion of 2010!
Best read of the season, sir.
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Some appreciation for the just-about-almost bursting into Semis of Pacific Crest!
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Over at Field&Floor, I promised early this summer that "at FIELD season's end, I'm working on the most far-reaching, most comprehensive take on field color guards I've ever attempted." Here we are, and here we go: bombs away! (And I am sure you will.)
Here's what motivated me: since the largest contingent of Field&Floor readers are guard-centric, why not bring together the two sides of this coin, by offering a glance at the drum corps color guards that have been the most influential -- in my mind -- over the DCI years. Easier said, than done.
But it is done. Over the next seven days I've saved a seat right next to me for you to "watch again" the 50 color guards that brought something new, different, experimental, groundbreaking, idiom-defining, to fields since the first DCI World Championship in 1972.
This is a highly personal list -- based on my experiences and view, of course -- and it is not intended to reinvent the "best" (all of these guards were), nor the highest placing (though many of them won the on-again-off-again title). Rather, I looked at color guard shows and performances from the vantage of moving the idiom forward. Some of the units here were meteors; the likes of them could never be replicated. Others were the first to present an approach that would be adopted universally.
A history of color guard in drum corps from a legendary sensation.
A recap sheet of the process and the list.
Join me "on the 50"!
Thanks, everyone for reading!
(to you, good friends of field and floor) -
"Strawberry Soup"
Listen to a recording, and imagine what can be done with the piece in the current environment. Eleven minutes of jazz bliss!
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Our virtually private, pageantry niche is rarely "broken into" by the real world, but when it happens it always makes me wonder just who new audiences might be; no matter in a "World Series," in a "Major League," or simply just a weeknight show in a high school stadium: Anywhere, USA.
Here's the dichotomy:
So I pen my DCI season in review, 41 years in: get it, love it, want to pass that on. Here.
The next day, I read this blog, from a newspaper. Mike Danahey saw Quarterfinals in a movie theatre.
(Be fore-warned: this is not for the faint of pageantry artistic heart or temperament. It is "scary fabulous.")
Opinions each one, albeit from two polar positions and views.
Is one more valid, more valuable, than the other to building a fan base?
Does an insider's view offer better context, or perhaps that of a newspaper man/neophyte?
In other words, does drum corps need the likes of more David Hill's in the stands, or more Mike Danahey's?
Curious what fellow DCPer's have to offer. Thanks.
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I'll put you right through, DCI: make the pitch! There is no better year than this one to reconnect with your televised history; your audiences, and pleas, match.
"Look here PBS, your fund-raising shows are full of AM-bi-ence; I've got your ambience, right here," barks Mr. H into the speaker. "Pre-recorded music puts audiences in the right frame of mind for the stories we're telling, even before we start.
"Listen, you can hear the violins," he grins at his colleagues in the conference room, unaware of the prophetic foreshadowing the line insinuates.
"Yeah, its like 'Celtic Woman' on acid," beams Mr. G. "Imagine those Irish lassies times 150, reflected in mirrors. That'll bring in the bucks!" The six other heads nod in feverish agreement. "With their voices amplified to like … three times their normal volume," interjects the other Mr. G. "It overpowers the senses; it becomes the reason for giving."
"And for that dinosaur demographic – I mean, your loyal and moneyed fans – we've got your classical music, too," adds Mr. F. "The beloved composer, Bartok. He's bankable!"
"PBS, listen to us, because we know what we're talking about when it comes to money," illustrates Mr. V. "Our brands represent stalwart, solid, and stable organizations."
"Yes," the reluctant, but agreeing voice of Mr. D., adds.
"Us too," Mr. S. clamors in. "Even though we are the newest member here, we are the future. All we're asking for is time on the schedule, fund-raising time; a second chance to make good with the network!"
The World Class, in review, over at Field&Floor.
(Plus, the conclusion to the telephone call with PBS)
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A tale of two drum corps (circuits)
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Breathing ... breathing ... in the vein of "outside audiences" and "active collaborations," perhaps this one? Or this? Maybe even this? For the leisure crowd ... and for head-to-head competition. For age-appropriate collaborations, if they should dane to "play" with Open Class corps, if they decided to play "nice," since the whole thing will move inside eventually, and finally, since this whole "concert" approach will likely flame out; this collaboration and venue.
LOL.Tip of the hat there for putting it into perspective, David.
Although, you do make a point of a different kind: if this kind of stuff can get representation, tv time and, hell, even into Maxim magazine . . .then what is drum corps doing wrong?
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My head was exploding from the public relations *farts* emanating from the proposal. Where's my matches?
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Breathing ... breathing ... in the vein of "outside audiences" and "active collaborations," perhaps this one? Or this? Maybe even this? For the leisure crowd ... and for head-to-head competition. For age-appropriate collaborations, if they should dane to "play" with Open Class corps, if they decided to play "nice," since the whole thing will move inside eventually, and finally, since this whole "concert" approach will likely flame out; this collaboration and venue.
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See you on the 50!
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A "spanking" is one way to deal with this situation; but I wonder if "time and love" might take care of a lot of this? On this Sunday morning, I read about, and have been pondering, which congregation matters here.
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The money quote from this must-read on copyright enforcement in the music industry:
"Whether or not a music user believes copyright infringement is a big deal, violators face fines of anywhere from $750 to $150,000 per song. If after several years, a violator refuses to back down, Baker ups the ante and sends what is known in-house as "the Larry Stevens letter," named after one of Baker's bosses, informing them that their case is being referred to BMI's lawyers. Most but not all cases are settled out of court. That's because in 51 years, BMI has never lost a single case it has tried."
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The Georgia Dome's Section 221 is a fine cat-bird seat to watch drum corps, and to "tweet!" Here's what I saw Saturday, via the real-time world on Twitter.
And upcoming in Drum Corps World, my full recap of the event. Lead teaser:
"Before the NCAA decided to expand the men's college basketball national tournament from 65 to 68 teams; it toyed with the idea of a pre-season tournament; something of an all-in, let's-see-how-they-match-up early notion. It would have been the forerunner to the season finale, March Madness, an indicator of competitive prowess. With thanks to the scheduling and weather "fates," Drum Corps International's Atlanta Southeastern Championship presented by Lake Oconee & Greene County, Georgia will be the one time all nationally-touring units compete together – with one judging panel -- until Quarterfinals during World Championship week. Hang on for one more "August" August!
Scoring neighborhoods were developed, ranges projected, gaps fluctuated, and movement among units was nothing short of chutes and ladders. But rest assured this season won't be over until the fat lady sees herself in the mirror."
Did she?
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Drum corps needs Shirley Sherrod right now!
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A genuine conundrum for everyone, this is: made even more difficult by time considerations. Who, other than the stalwart fan -- the ones of us posting here -- will choose to sit through a six-hour competition?
The part of the G7 (sorry) proposal that has value is in the conjecture that shows/contests on weeknights should be contained within two hours. For the new, or novice, spectator.
Is the first hour regional corps, followed by the nationally-touring units? Luck of the draw?
No easy answer here, because there is no way to prescribe audience attention. ALTHOUGH ... it might help if us devoted fans were in the stands early, and talked up the value of the smaller/regional/local corps and their place in the larger activity.
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I'll be tweeting the competition from Section 221 -- say hello! -- writing for Drum Corps World, and posting over at Field&Floor.
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Tweeting the show from Section 221. Say hey!
DCW article regarding touring . . .
in DCI World Class Corps Discussions
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I like it old, I like it new ... but I really do like ... and honor ... and respect the "relevancy" of drum and bugle corps.
And I had it brought directly to heart just yesterday.