BDCorno
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Posts posted by BDCorno
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3 hours ago, BRASSO said:
Anybody though that thinks that this hire will move INT up from the middle of the pack is just kidding themselves, imo
Varies slightly from show to show, but always around the middle of the pack. Nothing you can do about it.
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1 hour ago, kdaddy said:
*arranged
I assumed he was legitimately leaving drum corps when he announced his retirement from BD.
He's not allowed to retire yet. I taught him in high school, I'm still working so he has to as well... ;)
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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 -
11 hours ago, Jeff Ream said:
John D posted it on someones Facebook page. I cant post it for obvious reasons as it's a private page, but if anyone would know, he would.
DCI released numbers. Lots of them. Given how PR works, they can be inflated. Look at Wrestlemania 3 in the Silverdome....WWE has been gloating for years that they got 93,000 people in there. Why? So they could say they broke the record. When in fact, as was revelaed later by former officials the paid attendance was about 78,000. So why the need to post the bigger number? I mean given the layout, even with comps they could not have crammed another 15,000 in there.
But man, 93,000 sounds good...and it's still what the company touts to this day. I believe the Montreal number was over 30,000...it was packed. But some of those other numbers...I was there. and looking at the layout of the stadiums, no way you could fit that many people in there without fans out past the end zones...and video shows that aint the case.
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.
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36 minutes ago, Stu said:
So, the counting 'system' of attendance for 1990 was the same as the other two years? Really?
1990 31,994 Buffalo, NY
1995 19,100 Buffalo, NY
2001 16,406 Buffalo, NY
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.
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1 hour ago, Sideways said:
A trumpet player with empathy??? Talk about a unicorn!!!
Yeah, WTF with that?
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1 hour ago, MikeRapp said:
I agree with a lot of your critique of Bluecoats. The only exception would be the criticism that Jagged Line wasn't a big enough move from Down Side Up, only that Blue Devils have relied on the exact same design concepts for almost a decade and it hasn't seemed to impact their scores.
When I first saw Jagged Line, my main concern was how they would be able to execute a medalist show with a massive stage plunked down the middle of the field. In the end, they did as good a job making it an asset as possible but it was definitely a liability as well. The biggest issue was the fact that you had to go single file from field left to field right. It dictated too much of the drill the end.
The biggest miss of the show was the ballad. It was a valiant design effort and concept that just never worked as well as it needed to. They took a fourth of the show up to execute an idea that never really was worth the investment.
Purely from a design concept standpoint, and this is just me, it was a conceptual mismatch to do a Fosse show visually with ultra modern music. If you are going to do Fosse, do it 100%.
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!
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1 hour ago, xandandl said:
"sticks and stones may break my bones, but your words can never hurt me."
+1 to Crossmen.
$1 to Tresona
If Tresona is involved, it will be a lot more than a dollar, and I'm not sure they'll approve it anyway.
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1 minute ago, Terri Schehr said:
I found one I liked better.
I see that now.
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3 minutes ago, Terri Schehr said:
.
Aw, you didn't need to delete. lol.
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9 minutes ago, ftwdrummer said:
I dunno..."we're going to perform Stan Kenton's City of Glass more times than Kenton ever did because concert audiences didn't get it for him but they definitely will for us" felt a shade bit smug, whether it was intended to be or not.
Well performed show, but...it is an entertainment activity.
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.
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2 minutes ago, Cappybara said:
I was actually referencing
1. The very relaxed and confident approach to performance that both corps have
2. The jazz influence that both corps have leading to a more soprano weighted sound
3. The emphasis on individual performance
4. The very modernistic style of show design
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.-
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5 minutes ago, xandandl said:
yes Bloo's popular accessibility and BD's smug cerebral approach are not the same thing at all.
This year BD was more accessible to the general public than most recent shows in this century and may be what the other poster was referencing.
The only smugness I detect here is you. Master troll.
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On 8/12/2017 at 9:26 PM, Cappybara said:
BD and Bloo are similar stylistically in some ways, and so I know it it possible to appear loose, relaxed, and confident without giving up precision.
Huh? I don't see that at all. Very diverse styles IMHO.
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15 minutes ago, Bobby L. Collins said:
I'm every bit as qualified as you are, bub. You see, I understand human nature. And the last time I checked, there's not a single DCI judge who isn't a human being.
And your entire premise is a wash. DCI corps directors DO set the standards for adjudication. That's not only irrefutable fact.....it's common knowledge.
Keep telling yourself that, "bub". We'll just continue to enjoy your posts.
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On 8/23/2017 at 9:15 AM, Bobby L. Collins said:
Wrong. Dead wrong.
My entire premise is that the judges are at the complete mercy of the corps directors who dictate to them how to adjudicate. And right now, they're being instructed to judge hornlines upon the merits of their the audio equipment rather than upon the merits of the warm bodies holding the horns. Now quit being a pedantic contrarian simply because you don't like me rocking the boat, and open your eyes, ears, and mind to rational thought.
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.
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6 minutes ago, TRacer said:
We'll have to see! His dad auditioned for BD at their December camp in 1980 and did great. Alas, his ride from Orange County at the time had to back out and his parents (who didn't know a thing about drum corps yet) weren't about to let their just-licensed 16 year old kid drive by himself to Concord. Mr. Downey was incredible.
Wow...we could have marched together. Who knew? That was my age out year. We did ok.
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1 hour ago, xandandl said:
This is too tempting
not to note the opening of some poster(s) comment about BD's park and bark and marching not mattering. But alas, their backward marching front on the oblique was phenomenal, their opener memorable, and their changes matching SCV doing the segmented front falling behind then catching up and the Bloo jumping up and down like a pep band of Cameron Crazies. Funny how BD added those layers as the season progressed and then beat both SCV and Bloo. But I'll be an 
"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.
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15 hours ago, TRacer said:
My son who returned from a very successful 2017 campaign with SCVC (he marched 2016 with them as well) plans on trying to make the leap to SCV-A when auditions hit in a few months. 2018 will already be his 5th season in corps...time has just flown by. He was at HS band camp 3 days after Finals-- unreal! His band director (a Cavies alum from their three-peat) worked with Cavies' visual staff this year so they both had really good summers. Guess what style their band marches...?
Note to Xmen alums: he's already narrowed his 2018 WC audition choices to SC *and Bones ("Crossmen are really cool, Dad!") I still have my Xmen souvie T-shirt from '81...it's kinda thin now though, like a spandex uni-- oh, never mind!
Best of luck to him! Or, he can come over to the blue team! The water is fine, come on in!
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3 hours ago, Jeff Ream said:
here they showed the GE sheet when the new system launched:
oh here's all of them
Thanks!
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2 minutes ago, garfield said:
I happen to know that a lot of kids read DCP.
How about you find a better way to make your point or be funny.
It should be easy with the person to whom you're responding.
OK, fixed.
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46 minutes ago, Bobby L. Collins said:
It's like watching a blind and deaf cat chase its tail. You want to step in and calm the cat down, but then you realize that this is really all the cat has to do in life to entertain itself, besides grooming......
Well, it isn't constant entertainment for everyone...I just duck in here from time to time.
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Come on, it's DCP. You should know better.
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Tresona's SPiN Network
in DCI World Class Corps Discussions
Posted · Edited by BDCorno
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.