tigger2

This is a well done response. FWIW, I do not think he was trolling. Just giving a strong opinion. I personally love the addition of theatrics through costuming for every performer. Now, like with music and movement, the possibilities through costumes are endless.

Though there are some obvious points of "concern", including the potential for a lack of diversity, I have long thought it would be cool to challenge the design teams to have to respond to a predetermined theme for all corps for the season. Nothing too specific. You would be too limiting to say it had to be jazz, or a show about Elton John's life, or how water becomes ice, but themes such as Mother Nature, Growing up, Travel, Machines, etc. could produce a wide array of interpretations. Always thought it would be fun to sit there waiting for the next corps and thinking, "Okay. Let's see what this team came up with."

A reminder, the current design team and show concept is EXACTLY what many zealot alumni have been demanding, pressuring, yelling, screaming, shouting, crying that they wanted, and what they KNOW will bring back the Madison Scouts. They think the crowd will eat it up and all will be right with the organization. Most of the crowd will not eat it up and the talent of the past won't be there. The performances are for the crowds, but first and foremost for the members. The entire experience, on and off the field each summer, is for the members first. These are members in 2019, not 1999, 89, 79, etc.. Members/potential members are smart, well-informed, and demand that what they get is something worth their time, efforts, talents, and soul. Madison may have been able to provide in one of these regards, maybe two at some time, but not all four. Potential members love today's drum corps activity, just as we all loved the era in which we marched. To want members to live an alumni's experience from "back in the day" is narrow-minded and self-serving. Perhaps Dan and Chris have been so beaten up by thousands of such alumni for the past few years that they finally said, "OK, we give in. Have it your way." The current design team will also share some blame. Why do you accept a design assignment from an iconic drum corps that has been struggling to stay in finals and to attract the talent they once did when you have not created a highly competitive show with a band, drum corps, or indoor ensemble on any consistent basis for decades?

I just watched 1982, 1999, 2005, and 2015. I am a corps history buff, love old and new. I am just sick about what has happened to the corps. I usually would stay as far on the optimism side of things as possible, but just can't in regards to the past several seasons and what has happened this off season. While I wish all the best to the members and hope they have the best summer in all regards possible, it saddens me that such cannot be the case competitively. Next year (2020), or in two years can the corps survive yet a third overhaul, rebirth, survival after the storm which will require ignoring many alumni and their wants? Such gets harder and harder in drum corps as time passes- yes, Spirit, Troopers, Boston, Blue Stars, not to mention all those we have lost that did not survive a first, second, much less third revival. Three things have ended all drum corps: money, administration, and alumni. Though sorry to offend, it must be said that the alumni will have the most blame to carry on this one. There are many reasons alumni become so toxic. I think Madison the most toxic of all time and largely because once they found themselves slipping in rankings in the late 90s and early 2000s, they looked outwardly and not inwardly for blame and excuses. That decade of members were too often told the system was failing them and many of them bought it and still do.

This is all so disheartening. While I greatly appreciate those who have shown empathy on this matter toward a human being that most none of you know, the majority of posts mirror so much of what has happened in our country in the past few years, in part fueled by our president and other politicians who have lost or never had true empathy for all people. I am not trying to shame anyone, just my point of view. The fact that I love drum corps so much and constantly laud what it does for people's character to then read some of the terrible things being said here and on other social platforms about this situation is disappointing. As others have stated, thank God no one has been there to record every time I misspoke, or was unclear, or said something in an under pressure situation that did not allow me to be clear enough that every listener thought what I said was informed, insightful, and accurate.

To some degree, perhaps the larger percentage (51% versus 49%, 54-46?, who knows), but it is the designers' efforts that have provided a vehicle that can be performed at the level the members demonstrate and it is this particular vehicle that in part allows the performers to produce the "IT" factor. As stated in my first post, I am not sure the word "innovative" is a most accurate descriptor, but if you want to assign the descriptor of "ahead of its time", then if the things they are doing that have reached a new level for the activity- then sure, "ahead of its time", or at least ahead of all others.

From my chair: Yes, SCV is capitalizing on innovations and standards set by those mentioned earlier. And, this is of course how the activity progresses and how you win. I believe the show has and will continue to set new standards between now and Saturday. That stated, I am not sure it is innovation standards or simply really smart programming using full knowledge of all tricks of the trade old and brand new and excellence standards that equal or surpass those from which said tricks have been garnered. 1) vertical alignment on a new level for the longest amount of sustained time, and amazingly flawless at that 2) best front ensemble in the history of the activity considering the tools currently in the designer's and performer's toolbox 3) the development of moving props a million times and doing so in character, with purpose beyond moving something that needs to be moved so something new can be done (This has bothered me for years. Thanks SCV. If I can see you, it is judge-able, right? An opportunity to be creative and artistic.) 4) Soloists that are equally as good as any ever in the activity, but perhaps a bit better considering the wind range of skills shown, and not two or three folks. 5) Pitch control at all volumes and in key centers beyond B-flat and F (yes, others have done so, but I am not sure such has been done with the percentage of excellence considering some of the key center and harmonic language challenges) 6) It is rare that we get a corps that is not only firing on all three main areas of effect, intellectual, aesthetic, and emotional, but has been doing such since day one of tour. BD came close with INK and Fellini-esque as did Crown with E=Mc2. But all summer? Every night? Every tune? Every beat and bar? That's my take. Oh, and plus, the unexplainable "IT" factor. This production has that in spades. It just clicks. It speaks to your heart and gut. It makes you want to see it over and over and over. It is raw and passionate, gritty and gutsy, confident and bigger than life." It" is what made all of us become addicted to this unexplainable, niche, odd, crazy activity.

Old farts are still up. LOL.

The fact that placements 12–18 or so have become so strong from a design and quality stand point, and usually includes some open class corps, makes the fight for the last finalist spot, at least for me , as exciting if not more so than the race for #1. As a judge on specific captions, there is of course the responsibility to respond as accurately and subjectively to your caption's criteria as possible. That recognized, what if that 12th spot was simply reserved for "the corps show I simply want a chance to see again, one last time"? Of those battling it out for that coveted spot, how would you respond to the "who do you simply want to see one more time" question?

Lots of talent. Intellectual concept. Some great moments. I haven't heard that much intonation issues from a BD hornline in a long time. Extremely off-puting. Shocking, really.

Ummm. SCV, unreal visually and musically. The brilliance of the music book and visual package is equally balanced, equally amazing. fantastical. If BD offers more than this- more power to them. ####.

Wow SCV. BD ### is on the line for sure.

Scouts rely on guts too much. The show is thin in concept. While musically they are better than Mandarins, that is it. Would much prefer to see Mandarins again. Scouts got little to no reaction for much of the show.

Eager to see performances today. The top 25 has never been this good. Despite the fact that we have gone from thousands of drums corps to 60 or so, depending on how you define a drum corps in 2017, the activity seems quite healthy. The doubled GE panel is always a great idea. Many state that between the two/four judges' scores probably lies the most accurate assessment. I offer that there are probably at least three ways to consider the GE scores between all GE judges: The most accurate score is the mean of all four scores. The most accurate score is above the mean. The most accurate score is below the mean. It is a subjective caption. I know we could say that about each caption to some degree, but the other sheets are designed to be objective; right/wrong, bad/good, etc. There are specific words on the sheet that guide the adjudicator to put down a number based on the thirds of the boxes and the judges are trained to consider that one tenth is the targeted accuracy level. Now that they can give .5, I am humbled by the responsibility for these judges to not only commit to the number they write down, but justify that tenth/half a tenth on their tape, in their mind, and probably, in their heart. I am curious as to what degree their heart plays a role in their decisions. I am curious how much performance order plays a role when one group has their performance of the summer, and the next group having a flat show, though the repertoire is stronger that the previous corps. I am curious about how long GE judges do or do not re-run their scores and scoring reasons in their heads after the numbers are submitted.

I am more convinced that SCV should win, but want see why fans specifically think BD should. See the two separate threads.

Thought this would be a good topic for the week. Another great year for drum corps. I do not see anyone winning but BD or SCV. I have started two threads, hoping to keep both from starting as supportive for one unit over another, to becoming bashing of one group under another. DCP admin, please allow the two threads to stand alone. So, I will start here- Why BD should win DCI 2017: (I am using my own measures, though I am aware each lies somewhere embedded in a judge's tote sheet) Even-ess in all captions. Drums, great shot at 2nd-4th. Guard, great shot at top 2. Visual, great shot at top 3. Horns, great shot at 2rd or 3rd. GE- can be 1 or 2- They are second for me in GE Pacing and variety of effects. Pacing is still uneven for me, but variety is killer. Demand versus reward. Yes on the musical side. Though the required skill sets for all performers is high, the simultaneous demand does not even closely match SCV. Individual achievement per second. Second to SCV. The uniqueness factor/not your usual pony ride. They are 100% BD. So not unique in the regard, but certainly unique in regards to their convincing swagger. Show flow and horizontal connectivity. Still an issue for me. The ending lives up to the rest of the show journey. SCV as winners. Bloo is second here. Boston third. PR in there too. I am hoping BD has a big ending change coming. The math of it all/the sheer engineering accomplishment. Not their game for the entire show, but in parts. The show is pretty easy to get in one viewing. Emotional value. BD has their ballad. SCV, everything else. Attitude. Though I would like to compare it to Cadets in their best years, or Cavies, I cannot. It is its own brand of prowess that no one else has. Not even close.

Thought this would be a good topic for the week. Another great year for drum corps. I do not see anyone winning but BD or SCV. I have started two threads, hoping to keep both from starting as supportive for one unit over another, to becoming bashing of one group under another. DCP admin, please allow the two threads to stand alone. So, I will start here- Why SCV should win DCI 2017: (I am using my own measures, though I am aware each lies somewhere embedded in a judge's tote sheet) Even-ess in all captions. Drums, great shot at 1st. Guard, great shot at top 4. Visual, great shot at top 2. Horns, great shot at 3rd or 4th. GE- can be 1 or 2- They are first for me in GE. Pacing and variety of effects. Winners of this in my view, easily. Demand versus reward. Winners in my view. Individual achievement per second. CLEAR, OVERWHELMING winners in my view. The uniqueness factor/not your usual pony ride. Winners in my view. BK, PR, and Cadets in the same category, but not to the SCV degree. Show flow and horizontal connectivity. Winners in my view. The ending lives up to the rest of the show journey. SCV as winners. Bloo is second here. Boston third. PR in there too. The math of it all/the sheer engineering accomplishment. Never been anything like it. Astonishing. Want to see it again factor. Off the charts. I catch several new things upon each viewing. Emotional value. Winners, though BD has its ballad.

For me at this point, final placement depends on . . . I will throw the obvious variables out there first: · How well everyone else does · How well music and visual clean up · The performers’ ability to transcend the written · How well the show reflects the criteria on the sheets · Dealing with the adversity that inevitably happens in our activity (weather, health, etc.) · How members and staff deal with early–late season scoring, placements, etc.- the psychological aspects of competition. I am only addressing the corps I have seen multiple times on video, from different shows. This is 13 corps, the same 13 that I think have a legit shot at top 12 come August. While I know that live viewings are distinctive and will affect my perceptions differently than video, I wanted to spend part of my Saturday morning formalizing my current thoughts. For the following corps, in my view, final placement depends on . . . Blue Devils: dealing with the fact that years of not crafting every transition, restage, visually and musically, may have caught up with them. Argument has long been that because everything else in the show is so superior, those four, five, six, moments of design flaw aren’t enough to allow the next place corps to overtake them. For me, fact is that while Blue Stars or Academy, Spirit or PC may not be fielding the creativity and performance levels of BD, they would be penalized at a higher percentage rate for displaying the same transition, restaging flaws. So when the leader of the activity does it, such bothers me considerably and I think they should be called out for it. Maybe they are, but it still isn’t enough to affect their score. BD 2017 is clearly not finished filling out their visual program, crafting each transition, etc. That said, it seems there are many more moments of disjunct-ness visually and musically than they have had in five or more years. They sound amazing, but there may be too many cut and paste moments this year that perhaps can’t be smoothed out with crafting/layering. I also do not see the show theme in the production other than the very beginning representing old school corps- but then we are 100% in current day corps within 1 minute or so of the production. Where is the craft of a true “metamorph”? over time through time. While there may be hundreds of small references to past years, past winners, past-isms in the show, I do not see or hear most of them and am certainly not effected by them. It almost seems like an old school show musically, back when there were no themes; tunes, styles, etc., had no connection from one piece to the next. Summary: Final placement depends on making the transitions work, keeping us more engaged with the theme, and creating a through line that is championship worthy with less “cut and paste”- even though BD has not always done so and still won. SCV: depends on the continued crafting of a few transitions, the ending competing for best ending of the season, working out the micing of the small brass ensemble to the whole, and execution that puts them up enough in several captions to overcome the depth of talent difference that is still evident early season compared to BD, Crown, and Bluecoats. This is the best they have been in a long time. Crown: as with BD, depends of the better crafting of a through line of the show that keeps us engaged, drawn to the end’s logical and totally convincing resolution to the theme. The vocalist is not currently good enough that we are simply enjoying her contribution- I find myself worried the entire time she sings- pitch is still a major issue. They have to figure out the balance of risk and reward with the vocalist. The show currently jumps from old school to new school instantly, there does not seem to be an evolution of the concept. The ending needs to keep going to the point we are looking at and seeing a possible “future” drum corps reality. Percussion are better. Execution scores will also largely effect placement. Cavies: the show needs some maturity. The voice over tells us what to think, and for me, that gets old quickly. More craft is needed musically and visually to tell their story of manhood. Not sure the brass can place in the top five as of now. Percussion- we will see. Guard seems to have a shot at top four, but competition is thick. Cadets: the show seems to be getting some early traction. Their placement depends on how well the product can stand up against the sheets and the corps in their peer group (I do not think their peer group has been established and is totally wide open: 1–6?, 7–10? 11-14? The guard will have to keep improving at a good clip and the brass have a long way to go to finish in the top 6 or 7. BK: the show needs to be completely finished with several areas developed much further. Guard contribution needs to be re-thought. Their book reminds me of SCV 2002 where the guard used odd props and things looked clunky and did not contribute to the aesthetic near enough. Ending needs to be stunning. PR: the brass visual demands need to be reduced in some way so that they can accomplish visually and musically at a level that allows scores in all captions to keep them competitive in the 1–10 range. I love the new design attitude, but think it perhaps too much bitten off this first go at it. Crossmen: they cannot afford to clean the emotion of out the show, something that has been the case the past 3 years for me. Maybe this reported-to-be older group can handle such. The guard needs to get better exponentially. The show theme has to evolve enough that we care beginning, middle, and end. Blue Stars: the second half of the show has to get better. It is not near as good as the first half. Transitions need to improve and the ending has to be killer. Academy: I think this show has the most re-thinking to do of all shows that have a shot at making finals. Like Crossmen, but much more so, the show theme has to evolve enough that we care beginning, middle, and end. This effort seems much like their 2011–201 shows. It all makes sense, but . . . Boston: not sure I have anything specific to say. Work on the few places that need to evolve emotionally, keep cleaning, end up 2, 3, 4, 5, places higher than 2017. Bluecoats: theirs to lose at this point. Emotional- YES!, Great Aesthetic- YES!, Intellectual- maybe this area needs a bit more attention. The environmental challenges have to be met more frequently and consistently for the momentum to stick and earn them another ring. Madison: As of now, I think this is the only remaining group that has a shot at top 12. We will see how Mandarins continue to develop to a fairly safe but effective show. More than Crossmen, or Academy, they have to make the theme work much better- beginning, middle, end. Not sure enough home work was done in the off season on all of the right components. Like PR, I applaud their step into what I hope is a new era for them.

I do think it can be taken care of in the off season, for the most part. I am not saying no one did their homework. No one sets out to design and show that isn't/doesn't communicate. I do think that being on top of the current design choices, pedagogy, and planning is a must. I think it too often slips by a corps and before they know it, they are having to rebuild, re-think, re-boot.

I agree with you in general. Regarding compulsories (it can be debated as to what these are in 2017), they have added/included: a theme-based costume, expanded the electronic sound palate, embraced the trombone, greatly increased use of free form and characterization, included more props, picked a theme/show title that immediately asks "hmmm, I know that word/concept, but what will it reveal itself to be in their show?" All of this is fine and yes, reflects many of the devices used by the "more modern" corps that usually place above Scouts. As of now, the show seems to be embracing these newer devices, but perhaps not considering enough long standing show construction considerations which for me, are the cause of what is currently disjunct, unemotional, and just plain odd. No to be too cliche, I do think there is a ton of potential and I think The Academy has left the door wide open for a top 12 newcomer in 2017. I have always liked the Scouts and had hoped that the rumors of getting outside of their comfort zone was going to happen. They have done so, but not in the ways that make the show itself a wow. We need to get to end of the first impact and think "#### ####", they're in. My questions suggestion for the production: Time and Place: Thematically, how do you immediately put me where, when, and in what circumstances you want me to be as an audience member, on a first viewing? Props: If using the oxygen tanks ( a really cool idea IMO), they have to be worth it, really worth all the hauling around and storage, etc. Do you intend to use them more? Much more? Seems they could be introduced from the get go, at least one of them. That said, the show starts too abruptly. With such a bizarre concept, I think we have to be pulled in slowly so that the intrigue the show title and costuming suggests can be slowly and mysteriously pulled over the audience like a blanket, or like slowly putting on virtual reality glasses, carefully adjusting them into focus so we are now brought into your world. Props: The square stage in the middle seems out of place. Why is it pristinely square in a world that seems anything but. I think ragged edges or at least curved edges would be more authentic. Props: The fleur seems to be a central focus as far as where it is staged, but it is not presented as "home base" enough. What is its role? Can it anchor the theme? Characterization: Though I greatly appreciate that Scouts have gone there, and it seems super appropriate for the show, the members are extremely uncomfortable with these requirements. I understand it is early, but compared to most other units that are currently relying on role playing/characterization as a design component, any comparison shows Scouts as lagging greatly. There is also a lot of awkward body and horn movement. Much is written to be in unison or in A-B structures. I do not find them to be particularly musical and they seem out of place. If this is some survivalist world, perhaps influenced by Madd Maxx, The Hand of Man, etc. (all great inspirations), doing unison body work and horn moves seem too conventional, organized, from some other narrative. Seems the majority of the show should be non-unison, role and character driven, with occasional unisons that have a clear intent (unity, bonding, victory fist pump, etc.). While I know there is some of this type of unifying body motions in the show now- it gets lost amid all the unisons and the intent of the unisons. Pacing: the beginning starts interestingly enough, but not nearly interesting enough to capture and hold interest. Right off the bat the pacing will be effected by this because we then wait to feel connected to the show to some degree, to have been let in so to speak. We may not quite get subsequent effects because we are still in awkward mode. Once the intro is over, the time between major events/resolutions/arrivals/hits/etc. is most often too short. We need time to absorb, to get it and then appreciate it- what ever you want "it" to be. Orchestration/pacing: the pacing here also seems fast, with too much time spent in dense textures. I get that much of the source material is bitonal/atonal/complex harmonies, etc., but such makes arrivals difficult. Will major chords, "conventional" cadences ever sound like they fit? Right now those moments are out of place. Part of it is related to pacing; more room to breathe so to speak, more time for my ears to be taken on the journey with you. I can hear someone explaining that relentless is the message so the music tells that story. I get that, but how that is crafted is how you make it work, and if the theme, the journey, the final resolution was more clear, the "relentless" musical device could serve for better effect. Narrative: One of the most important rules in a play, book, movie, pageantry show with a story, or narrative, or general theme that displays question and answer is "They have to care." The audience has to care about the subject, the girl, the beautiful horse, the lost child, etc. and, has to feel a connection asap. As of now, there is noting to make me care, to pull for someone or something. The question is unclear, so I never care about the answer. The story does not have to be detailed like "Romeo and Juliet" or " The Man and the Sea", but I do not think this show will work its best without much more "story line" than what is there now. The Hand of Man: a dude is drawn to a tree, the tree gives him the thing, others want/need the thing, the things causes actions/reactions, another tree has been calling, it needs the other tree's thing/man's hand, eventually, it gets it. While this may or may not be the 100% exact story line that MCM based its decisions on (and I am being bit obtuse with the story line to make a point), it is what stuck with me and what I followed every time I saw that awesome show. So maybe nothing more detailed than that, but that is enough structure that my mind explores and thinks and sees and is intrigued 100% of the show. I cared to see the resolution and got exactly what I hoped for. I was let in, allowed to enjoy, and allowed to be right. Just my thoughts for how to resolve some show issues: Start much more slowly, add time prior to the backfield playing moment that currently starts the show. Cool electronics, mysterious. Establish that home base is where those that have the life blood/oxegen tanks reside. Maybe the fluer is some other symbol to start that gets replaced. Establish one member that needs to get to the home base Establish that the oxygen is the life blood, perhaps the most valuable of all "modern day" commodities Build to what is currently the start Keep the one character from getting to home base The narrative is now established and the middle portion of the show can let us interpret exactly what is happening and we see conflict, people kept from home base, people storming home base, etc. Does our main character nearly die, someone else, more (the ballad moment)? The not welcomed storm home base Fights ensue Indeed, all fall with last man standing- or all fall except those that have over taken home base, with what ever was on the mast at the home base being replaced by the fleur. Good guys (the Scouts) win so to speak. I know that this may seem too literal. But, only one or two corps get creative license enough to do etherial or obscure. Scouts is not one of those corps and a non-finalist is certainly not gradated that license. The show is currently extremely etherial and obscure. Marching the 8 trombones the whole show- awesome, original, cool, Scouts are the first in history to do it. It isn't enough to get them in. The costume is the best of the season. Inspired and cool. It isn't enough to get them in. The electronics are much improved. It isn't enough to get them in. All of these and the things mentioned above that they have embraced are icing on the cake sorts of things. I applaud them for going there. The cake, the structure needs the bulk of their attention. They have nothing to loose. I would clean what is guaranteed to stay, but sit all day in a room and restructure the show top to bottom so we are easily let into the theme, lead through the narrative, and given conclusion that allows us to be right- to have seen it coming and revel in the glory. Sorry for the comparison, but The Academy 2016 show was largely successful because we were hooked from the get go and hooked the entire time (not sure why they did not follow their own lead). I want all groups to do well. Not sure why I particularly felt myself pulling for Scouts this off season other than I do not want to see anyone, much less a corps as iconic as Scouts struggle to stay in finals. It usually leads to too many issues that eventually cause lots of heartache. I started typing and could not stop. Just my two cents.

The performance to some degree, but largely the arrangements. While there are a few places for each brass player to be expressive, those moments are extremely rare. As a brass player, I want be challenged technically and musically. I want the complete fulfillment of my music book to be just beyond my reach early on, reached more often than not mid season, and consistency maxed out at season's end. I would be bored performing most of this brass book as I would have been last year. I personally feel that the musical offering of last year and this, thus far, maintain an almost monotone orchestration that perhaps tries too hard to be fair to all voices, creating perhaps an unwanted predictable walk rather than a wild rollercoaster ride. It seems more like a check list of required stuff rather than a musical, visceral journey.

The scores are a bit of a surprise, but first show of the year, etc. I was also not seeing the show live, but rather in a movie theater full of fans. Though my comments seem more negative overall than positive, I am only reacting to tonight’s performances and do wish all the best for the corps and their respective seasons. I do think we are in for another banner year, knowing there are at least another 12 corps out there vying for a finalist spot in 2017. Crossmen: I like the props and how they are restaged often. I expect their usage will increase in frequency and variation over the summer. The uniforms are interesting (I assume the guard was not in full uniform) with the orange and pink standing out against the black. The move to the lower corner side 1 was interesting and seems to be a moment of further development and effect. Though a fan of the source material, I cannot say I like the music thus far. Like last year, for me, the brass contribution is lackluster and requires little to no musical commitment, though there are some potential moments in the ballad. It seems the talent level is down in every section over last year and the show is the most elusive they have offered since moving to Texas. I cannot make any educated guess at this point, but will carefully assume that finals is not a lock by any stretch at this point. Not eager to see it again without some major show developments. Blue Stars: A big tick up in quality and design over Crossmen. You instantly get the show theme and we are off and running with some quality and detailed design right off the bat. The horn line may be their best ever, though the ballad was quite different from the rest of the show. The percussion writing is as musical as the past few years, as is the guard writing. The story line that moves from Shakespeare to The Great Gatsby to Moulin Rouge needs more tweaking and finesse, but the general idea is there. As with last year, there is great evidence that an artist’s eye is driving the show production; I do wish that there was a bit more commitment to a few of those most common drum corps-isms that we all expect and love when delivered properly- they certainly have the “horses” in all sections to do such. The arrangement of the Prokofiev is stunning. Really eager to see this again. I hope the ballad will be realized differently musically and visually. Cadets: Bravo for stepping out of your box and taking risks. About time. The musical offering is wonderful, and at times, game changing. To risk being cliché, this show has great potential. It was the most underdeveloped of the night and certainly exposed that the corps is behind where they usually are this time of year. But, rather than slowly losing ground, this production has the potential to gain ground over the summer if developed carefully and effectively. The brass drill is a MAJOR concern. The guard and battery was the strength tonight. Several show components suggest opportunity for much more development that could result in something really special: the church pews, the stained glass windows, the choir, the costuming and its changes, the overall vibe as intended by Lenny yet as perceived by a 2017 drum corps audience. A few questions: why is the choir on stage left tacked onto the pit? Why are the stained glass windows not better utilized for effect and staging? Why are the pews so close together and not manipulated/moved at least once? What are the plans for the shoes, uniform layering, and how we remove and dispose of each “discarded” costume? Eager to see this develop. Cavies: I loved last year’s show so much, I am not sure that such makes any early season comparison fair. That said, I was horribly disappointed. The talent level seems a bit down musically, but up for the guard. The show theme seemed shoved down my throat through voice overs and not staging, drill design, role playing/characterization, or music device. There was some male visceral-ness at times, but it seemed forced. The snare tuning? Holst’s “Mars” was subtle and ethereal. Why are the jungle gyms multi-colored?- I do like how they are easily moved and how they provide a variety of staging options/dimensions. I worked hard to like it. I just didn’t. Eager to see it if changes are a foot. Crown: How is anyone ever been this clean this early? Really? Are you kidding me? The best the percussion has ever been. Someone forgot to tell the guard there were major staffing changes. Movement and form responsibility, off the chain. And that horn line, geeze! All that said, where do they go from here? The show concept, if intended to be deconstructionist, it isn’t at all evident. The closer is quite disjunctive from the rest of the show, but there is no pathway that clearly takes you from any established point A to point B. The vocalist is rough at this point. Pitch is a major concern as is balance and blend. I like the closer, a lot, but it is from a different production. They seem to be in a good place to make massive changes and not lose nearly as much ground as those that don’t have the horses to do such and not only survive, but thrive. Bluecoats: To quote someone else, “of course Mozart sound like Mozart”. For all those expecting some 180 degree change from last year and seeing such as the mark of a true champion- I’ll ask, have you seen BD the past three decades? This show seems to pick up where 2016 left off, and why not? Some moments more predictable than others. Some ideas expanded, pushed, decorated, etc. Some new ideas too and some risk. The brass are far more taxed physically and there are more exposures due to demand for all sections. Like last year, it is fun, riveting, and uniquely Bloo. There were micing issues, tempo issues, etc. Doesn’t matter right now. They are staying true to themselves and viscerally entertaining as hell. A problem they do not have that BD does. I like that fight. Lots of talent and lots to do.

There has been a lot of discussion among my drum corps friends and on DCP regarding the blue "wave" tarp used at the start of BD's show, enough so that I thought it deserved its own thread. Here are what seem to be the recurring opinions: 1. The color is beautiful under the lights. 2. The waving effect of it is wonderful and brings the ocean setting to life. 3. It is a great front drop to what the brass and guard are doing behind it. 4. The way it is taken off and then brought to the back and then wadded into a pile- all in plain view is unimaginative and a distraction. 5. Even though the way they take it away is unsophisticated and clunky, weighed against all the other cool stuff they do, it is a minor issue. 6. Because the staff is so creative and detailed, clever and innovative, the unsophisticated and clunky way they discard the tarp is so out of character for them, and perhaps then even more awkward to watch. 7. The effect is not worth the logistics. 8. Is it adding points? If not, let it go. 9. We watch other corps move props around in a clunky way, so why is this not okay? 10. Couldn't it come off the front with poles, or one person dragging it somewhere dramatically as if claiming the sea? 11. If it was larger and could go over the entire back drop using long poles . . . My own opinion: Yes, the effect is cool, but extremely brief and I have seen this done many times. Yes, they do so many other clever things and maybe this is only 30 seconds or so of the show, but it is awkward to watch even for that long. I can't help comparing BD to BD; there have been moments in past shows where a visual detail was not crafted and no one seemed to care much, but no where near to this extent. If keeping the tarp (though unless something much better happens to take it off the field), I feel it adds nothing to the score, the exit is not worth the effect, not even close. Other opinions?

I am THRILLED about the scores being unpredictable. As others have said, I am looking at spreads at individual shows- not comparing one show's scores to another's. I have always thought way TOO LITTLE consideration was given to true show dynamics regarding judge reactions: Temperature Field (thick grass, short grass, flat field, turf, etc.) Press box distance from field Press box open or with windows (wide windows, small windows, etc.) Corps performing in the dark, light, dusk, etc. Day after rest Day after changes Day after a "rehearsal beating" Show order Humidity Bus issues Good warm-up/bad warm-up Bad electronic run And many other "show dynamics" To play devil's advocate, perhaps what is happening is EXACTLY what we have all been wanting. No recaps, less slotting. Reacting to the true performance of that evening and that evening alone, equaling more diverse and varied spreads. I expect this to all become more evened out as time passes, as changes lessen, and comfort levels of both performer and judge increase. I love the added excitement and do not see it as a complete reflection of poor judging or a poor system.

My theater in the DC area was packed. This crowd has gotten bigger and bigger every year. No sound complaints. We assumed Boston had their pit cranked and Steve Rondinaro confirmed such. I know that there is a lot of time for shows and performance levels to change, more so for the top groups. These are my impressions based on this venue and all that a theater experience brings, and limits. Boston: Off to a good start. I love all of the melodic content and feel the arrangements are clever, unique, and refreshing. The drums seem a bit improved, the brass much improved, and the guard a bit down. The show was difficult to follow. The props were second best behind Coats. I assume they will use them more and experiment with better staging of them. The ending needs a relook. A solid finalist though the show will have to develop more depth and emotional reward. Regiment: The guard is beautiful and reflects exactly what we have come to expect as far as how they carry themselves and the elegance and role they bring to the field. The brass sound pretty good, though reflecting the last few years and not their “hay-day”. The drum writing struck me the most. It was fresh and musical, and many moments were pretty clean for a first show. There are several awkward musical transitions and the overall theme is not clear. Though using electronics a bit more than past years, they still seem stuck- behind musically and visually. I can’t say I care for the musician’s uniform at all. The pit in nearly all black was classy and unique. Moving the props is extremely underdeveloped and distracting. YPG seems to have potential to end their show in a very exciting PR way. Even if maxed out, the field has become so deep and the top eight so”relentless” in a programmatic and performance way that PR will remain in 12–8. Cavies: No overhype, but “Yes”, I think they are back. Where they will place I do not know, but based on this viewing, they should stay ahead of PR. Their brass is still their weak link, though much improved over last year. They seem to do loud well, but lower volumes, not so much. The theme is cool and pretty easy to get, though I think they need to keep tweaking all of that a considerable amount. Great bass drums. Like the uniforms and guard costumes. Needs a new ending. Cadets: This show seems to have a lot of potential. The first half comes across as much more crafted, effective/interesting, and well paced. They are still doing some crazy drill while playing and running above 200 bpm. I am glad they responded to being the best fourth place corps of all time in 2015 by modernizing their design. The increased use of electronics is a good decision, but needs refining. The concept is much too elusive as of now. Even without two bass drums, drumline sounds amazing. The second half needs a lot of change and direction. This may not be top 4 as it is now. Crown: I love this corps, but not tonight. I liked it, but found a lot of it to be a rehash of past stuff, too much so. They sound good and look good- the cleanest of the night. The steam punk western thing is a bit elusive. Drums a bit improved, guard and brass still amazing. A lot of feet issues tonight. It will be interesting to see how they develop this. It is a great show, but not a championship show as of now. Bluecoats: I found myself laughing over and over because of how amazingly creative and well-performed it was for mid-June. So good in all captions. Clearly a medal contender and candidate for some caption awards. Much is already really great, but I see the potential for even more controlled crazy. Cannot wait to see this one again.