BDCorno

Certainly understood. Question is, at what cost? Once the lawyers get their billable hours, just crumbs left. No good answers.

Good question, though it's like anything else...it's sold as a good thing to the client. Doesn't always turn out that way.

LOL. If anyone thinks that the people making money are the composers/publishers, they'd be mistaken. Anything of this type results in the lawyers cleaning up, and the composers get pennies. It's sort of a running class action lawsuit...the lawyers (Tresona) are "helping" the aggrieved and exploited class actioneers (composers) fight back against exploitation by representing them. After all the billable hours, retainers, and whatever profitable mechanisms they can come up with (streaming service, in this instance) are backed out of the collected money, the "client" (see sucker) gets the crumbs. I'm sure the lawyer will say "hey, they got something where there was nothing", but they've cut themselves in nicely to the situation and really aren't interested in clients getting their fair share. After all, the lawyer, unlike the composers, have created nothing but a money-making scenario for themselves. The composers should have a lawyer to negotiate with Tresona, instead of getting what Tresona says they are entitled to.

Varies slightly from show to show, but always around the middle of the pack. Nothing you can do about it.

He's not allowed to retire yet. I taught him in high school, I'm still working so he has to as well... ;)

Reminds me very much of a band I follow in Las Vegas, Santa Fe and the Fat City Horns. They play it all, including a lot of Tower of Power and EWF tunes. Amazing musicians. http://www.santafeandthefatcityhorns.com/videos/ They had been playing at either the Palms Casino or South Point for quite a while, but with renovations at Palms, they're currently on hiatus there. Well worth checking out if you're in Vegas and looking for some entertainment. https://youtu.be/bQDtowvLfFQ

Yeah, you're pretty well capped at about 22,000 in Lucas with all seats sold "behind the beam". It's just not a huge venue to start with. Rose Bowl? 1/3 full for sure, and this was before the remodel and downsizing of seating, so the number was in the 33k-35k area. How much was paid? I'd posit that they'd have a hard time giving away 10,000-12,000 tickets, and there weren't that many MM's left to fill out the seats there. I hate to imply any "massaging" of the numbers, but it would definitely be in DCI's best interest to lowball the numbers to help justify Indy as THE site, and give the "hey, attendance was the same" excuse for locking that in for a generation. I realize some of the benefits to having DCI in Indy, but in terms of growing the activity, it's not going to move the ball down that field.

DCPADD

Well I don't think they did any favors with the Pasadena numbers. Wonder if those were massaged as cover to stay in Indy. Either there were 15,000 freebies, or their numbers are totally wrong. That was a huge crowd.

Yeah, WTF with that?

Largely agree with you. I know what you're saying re/Blue Devils...design structure somewhat the same, design concepts were different from year to year. I think you'd have a hard time making the case that any of the shows from 2007-present had the same personality or energy year to year. Mirrors to Bacharach to Dada to Rite to Fellini to Ink to Dreams to Diamonds...very different from year to year. I guess a better way of describing the Bluecoats' first couple of minutes is that the energy was quite similar from 16 to 17. Agree completely that the music was incompatible with the Fosse visual style. While you could program the movement style to align with the music, that didn't necessarily mean that it would project the same way when not paired with jazzy Broadway music. I did like the music a lot...they're always digging up new music that I've never heard (well, very familiar with the Zappa piece). I'll still have this program on my playlist in my car...music program was a lot of fun!

If Tresona is involved, it will be a lot more than a dollar, and I'm not sure they'll approve it anyway.

I see that now.

Aw, you didn't need to delete. lol.

Fair enough, but it's not as if that's every year. :) Actually, it's a competitive activity. If I had a dollar for every time my favorite show didn't win (and a vast majority of the time, rightfully), I could go and have a pretty nice meal.

OK, I can see some of that...not sure about #3 until the past two shows on Bloo's account, but they are clearly moving that direction. I think where Bloo stubbed their toe is by looking back at last year's show and attempting to "bottle" some of that. Watched the opening theater show, and I found myself saying at about 2 minutes into their show "this is the same show, just different music". They did go a different path after that, but they and Crown both fell into the same trap. You just have to keep moving forward and not look back. The only beneficial looking back is to take notes of things that didn't work...such as the massive, unmovable prop occupying the middle of the field. They did some cool things with it, but something that big, and that is static, you have to account for it at all times. I pretty much called it at the theater...wasn't going to be a repeat. I like the direction that Bloo has gone musically...they've always had a unique bent to their style that I've liked. My most listened to show (besides the new BD offering) is Kinetic Noise. Always entertaining from a musical standpoint. Some neat visual ideas from time to time, but this year just didn't seem like a wholehearted move to where they wanted to go. They had the musical ideas and they had the Fosse thing - but still tried to incorporate some of last year's visual approach. So they dipped their foot 50% into one visual pool and 50% in another. They should have gone full Fosse visually but didn't. The music was cool, but probably didn't square well with what really wasn't jazz for most of the show. Lessons learned, most likely. I fully expect them to bounce back next year. Great horn line, great drum line and some very creative visual and program personnel on board there...not to mention a great organization. Best to them.

The only smugness I detect here is you. Master troll.

Huh? I don't see that at all. Very diverse styles IMHO.

Keep telling yourself that, "bub". We'll just continue to enjoy your posts.

Yeah, people...let's listen to Bobby L. Collins, whose extensive background as member of the Tennessee Volunteer marching band, and lengthy drum corps career of one season with a corps I've never heard of, eminently qualifies him to pass judgment on all things judging as pertains to DCI. His deep connections with the drum corps activity allows him to make us aware of the insidious practice of corps directors dictating scores to the DCI judges. Since he's judged for zero years as a field music judge, he can accurately dowse the mindset, perspective and practices of a DCI level brass judge. Glad we have that cleared up.

Wow...we could have marched together. Who knew? That was my age out year. We did ok.

"changes matching SCV doing the segmented front falling behind then catching up"? If you're talking about the beginning, it had been that way since June. So that wasn't ever a change. LOL.

Best of luck to him! Or, he can come over to the blue team! The water is fine, come on in!

Thanks!

OK, fixed.