BAC_Contra

B Sharpe! What's up sir! (and we now return to our regularly scheduled discussion...)

I really have to agree... I was discussing this a few weeks back when I ran into a friend of mine who I marched with at FIU (he's now a show and drill designer, he marched quite a few years at Kiwanis), and what hit me is that I really dislike the drill that has become common since about the early-mid 2000s. All it's become is rotating lines, a box, rotate the box, divide the box into four boxes and rotate them into one large box, form more rectilnear forms, blah blah blah. This segment of BD, in what, 40 seconds, just did all of that. Snore. I MISS CURVILINEAR FORMS!!!! FRENCH CURVES!!! Reshapes, blind pass-throughs... if you look at what you guys were talking about (the glory era of Cadets drill, etc.), THIS IS WHAT IS MISSING. The new stuff is much easier to clean because hey, cleaning lines and boxes is just proper technique - dress and cover down. It's also obviously more exposed for this same reason, so if you do it right the judges will slavishly "dole teh pointz" on the score sheets for achievement. But free-form drill and amoeba shapes, the constant movement and motion in non-linear forms made for a big wow moment when the corps would finally do a big rotating block. Who remembers all the hoopla when SCV 1999 did those two rotating box formations, the one halfway and the other just at the closing? This is why. Watch the rest of just that show, and you'll see that they make a "moment" out of the rectilinear forms whenever they show up, they dole them out like candy. Now? It's the first 30 seconds of the opener, so the rest has no impact, there's nothing to contrast it with. My friend says this trend will unfortunately continue as the next generation of designers just know what they experienced, so we'll be headed for more of the same. Sigh. More? Watch one of my favorite shows, Cadets 1992. Hell, any Cadets show really until the 2000's, they're as guilty as everyone else of this now, even though they were the innovators of what we lament the loss of.

A million times THIS! WE DON'T GAVA! This show pulls me in the more times I see it, just so much stuff going on everywhere... it really needs repeat viewing. Give the staff the time they need to keep cleaning this. I said it after the cinecast, this is Top 5.

Just saw them on the June 23 DCI Tour Premier theater event, and I have to say that I was blown away by every corps I saw; I don't think I've ever seen so many polished late-June performances! And while some of the other corps might be a little cleaner, I was absolutely stunned by what BAC threw down. I said it immediately afterwards, this show has Top 5 written all over it, assuming they clean the snot out of it. Music demand, visual demand, and the sheer exposure of what they're doing is really impressive. I have no clue wtf was with Rondinaro and DeLucia's reaction (though I did enjoy that they seemed critical of things and called it like they saw it, they didn't just fawn over each performance) - you would've thought they just saw 1993 Star for the first time... I don't think I've ever been prouder to be a 'sader. The new unis are ######, the show is all-out aggressive in the manner I love, and the little touches - the "BAC" set, the G7 set (that is the very definition of WEDONTGAVA!!), the Conquest shots, and then Conquest in minor at the end - just left me laughing like a little kid. I absolutely love what these kids are doing, and I know that come August 9, they'll be in the Top 5; they just need to keep polishing this gem!

THIS.The overtone series is completely different obviously, and it's the one thing that I *can't* hear now that I used to hear back when I marched. The overtones are what added the... sizzle... to a powerful and in-tune sop line. Hearing the overtones just ringing over a good bari line was wonderful. I remember as soon as I heard the Bb horns in 2000 that I didn't like them - they sounded cold, strident. They lacked the warmth that the G horns had. The trumpets (shudder) were playing way past their range in order to try to keep the same volume level as the previous year, but it just wasn't there and I could tell even from the field; as a fan in the stands later it was pretty obvious. Heck, one of those corps even had little "power rings" attached to their mouthpieces in some sort of weird physics-voodoo attempt at getting more volume. It's also why I feel that the size of corps have increased over the past few years from the 128/135 when I marched to the 150 or so now. It takes 80 Bb brass players to equal the power of the 64 G brass players. What the Bb horns did was level the playing field somewhat. The skill in the old G horns was learning how to control the intonation on those beasts; compensating with the slip valves on the fly on certain notes so that you can keep those overtones popping. And there's just no replacement for experience, or plain skill. So, generalizing here, the experienced/skilled players tend to gravitate to the big corps with the experienced staff; while the lower-ranking corps tend to get the younger/less-skilled players and younger staff. That combination on the G horns meant a lockdown in the activity. The Bb horns leveled the playing field and removed one of the big hurdles to younger players: controlling that horn. Getting used to the pitch center and partials of that G horn when you've been playing on a Bb your musical career. Much easier and lowered the barrier of entry. Consequently, more hornlines are able to sound "mature" sooner in the season, playing in tune with greater ease. And that's contributed to the new faces that have been invading DCI's Top 12 since the introduction of multi-key brass. The only thing I miss is the projection and that homogeneous tone quality the horns had from all the instruments being in the same key, they were more "seamless" to my ears. Arranging is different too. Not for nothing, current hornlines sound great; but every time I put on any of Star of Indiana's later shows and revel in that lushness, that pipe-organ quality is what I miss (1990 - good God). Or 1985-1992 Blue Devils, especially 1988 or 1989 - that big, round, massive wall of sound. I compare that to the hornlines now - and it ain't the kids at all - and it's just not the same for me. But now I'm rambling... ey! Get off my lawn!

Yeah, rank-breaking at any time by anyone was pretty much verboten. Though we did have a little slip sometime in 2000 where the old "parking lot" mentality tried to make a comeback - that was QUICKLY corrected by one ######-off tour manager, who reamed us back into shape permanently after the Indy regional. My backside still hurts from the chewing out we received... I wholeheartedly agree that Tom has done a phemomenal job as corps director. While Mr. Weinstein did a great job at the helm (and continues with the Blue Stars' resounding success), it's nice to see a BAC alum as director again, like under Jim Cronin (who, as many BAC alumni tend to, sacrificed a LOT to ensure the corps' survival and recent renaissance).

LOL. I remember police officer at a parade in 2000 explaining to a kid why he shouldn't break our rank and that he'd only have himself to blame for the consequences. Or a little balloon cart which one of our sops knocked over when it started to encroach.... or in 2001 when another sop knocked over a baby stroller for attempting to break (no, the baby wasn't inside!)... The 2010 BAC are doing a bang-up job, and they'll only get better these next few days (and if history holds true, expect a few last minute tweaks). And while I remain a firm believer in WEDONTGAVA... Let's break 93.0, BAC!! EAT EM UP BOSTON!!!!

Gorgeous. Having marched with Tom (more accurately, as one of our DMs) it's like a time warp to hear him giving a motivational speech. :) I had to sing along with the kids, couldn't hold it back. And reading the alumni posts in here is the reason I'm a 'sader and am proud to have worn the Red and Black. WE DON'T GAVA. Never have, and never will. All of the kids out there now are there to represent the BAC and could give a hoot about scores. I don't remember the scores for any show. I do remember though the 'Sader Seniors performing in the Manning Bowl; warming up to a gorgeous New Mexican sunset in Rio Rancho in 2001; the fan reaction in Rome, NY in 2000; suicide runs on the bus; the first time I ever sang GIANT... And feeling like Superman every time I put that BAC uniform on, representing 60+ years of brotherhood better than any fraternity ever wishes it could - 60+ years of alumni that kept the corps going through all the hell and hardship it went through, things that felled other contemporary corps but could never do in the BAC. Waldo's at 70 years strong now, and will do another 70 without flinching. WE DON'T GAVA!! EAT EM UP BOSTON!!!!!!!!!!

Man, that 93 BD show is the shiz! Especially the aforementioned Scott Stewart's solos (WTF note does he hit at the very end of the last solo?!), although I really dug his stuff in 95 BD... that dude had chops, and tone to match. IMO, 93 BD was probably one of Wayne Downey's best brass books. The stuff he's written lately though... oy... BD's horn books jumped the shark, I feel, after 2000. What I would give to hear them uncork on some real jazz, with that sound they used to produce in the late 80s/early 90s. Oh, and 1990 BD is also really nice! Not really screaming, but Larry Shane's solos send chills down my spine, literally EVERY FREAKIN' time I play that show.

Ya know, I gotta disagree - there are very few "perfect" fields out there, and even at Finals - which you would think would have a well manicured field due to the importance of the event - I've been able to find divots both years (one of them #### near causing me to lose my balance at the very end of "RED", and right when I was at the very front of a standing formation no less). Astroturf and the second-gen stuff also accents a really nice roll step, making it look outrageous. Staff usually knows how to tune the corps for the temperature differential, so that's not really an issue, and the cooler temperatures were always welcome. I never found the echo to be a big deal as a performer because I'm not supposed to be listening to cues, I'm supposed to be watching the DM or keeping internal count; and as a fan, the echo would make the most beautiful ringing releases "ring" that much more.

What a fantastic review! I'll reserve judgment on this year's synth effects, but I doubt my opinion will change: drum corps is better without it. MUCH better. I do like "vocalizations" by the corps, ya know, the corps chanting something or saying something, but not some "narrated" segment. Narration seems so condescending - if your show is well designed I should be able to figure out what the heck is going on, I don't need someone telling me.... And yeah, we always tend to remember our time in corps with rose-tinted glasses. :) I still remember though, waking up every morning wishing to be struck by lightning - "WTF did I get myself into?! I can be home in A/C watching TV... instead, I'm in Biggsville, IN, watching rocks melt and having to accept vis staff chewing my arse off". But the payoff for all that work is always in the end, when you can put on that CD or DVD and just watch the results of all that effort... smile... and point out to friends and family just how great it was and how you can't wait to do it all again.

Great review man! Very descriptive, hope to see more like this. Side note: It brightens my day to see a high school woodwind player state that woodwinds have no part in drum corps, you should pass the note to a few corps directors. From a former 6-year flute/piccolo player, go contra. Really. Just do it, you know you wanna. Because as amazing as it is from the stands, it's really out of this world to be on the field. EAT 'EM UP BOSTON!!!!!!!!!!!!!!!!!!!!!!!

Just figured I'd say that since I haven't heard any shows thus far, can't comment on your reviews - but I do disagree with your Tommy statement. While you may not like it, and the visual design might have been... odd... that hornline was freaking great and had some fantastic solos. So while BD's current show might not be up to par (again, haven't heard/seen this year), 1990 was a great installment in BD's history and one of the only shows that 8 years after having first heard it STILL gives me chills down my spine EVERY time.

I'll add my .02, and say that when I played contra, the role model for my sound was always Star's contra section. Blue Devils contras were always very high on my list as well (for those who say you can't hear BD's section, have a listen to their 1988, 1998, and 1999 shows and come back) but as others have said, they're a lot more of a "texture" then a "blow you down" sound. SCV's lines also rank high with me, particularly their 1987 section (that into, good lord.... wow). But all of you on here that were in ANY of Star's contra sections, thank you. :) From 1986's raw power, 1990's lushness, to 1992 and 1993's controlled fury, you guys to me are the epitome of a contra sound. Same goes for the hornline, but in particular to the lowest of the low brass.

Might wanna check your haircut on this one, cause the discussion went just over your head. The whole point is disruptive comments during shows. Screaming out your opinions on drum corps IN THE MIDDLE OF A SHOW is not proper etiquette. I'm pretty sure if you went to a performance of the Boston Symphony Orchestra and shouted to the conductor "HEY! TCHAIKOVSKY IS PLAYED OUT, GIMME SOME JOHN CAGE!!", you'd have a lot of glares in your direction if not be thrown out entirely. Which parallels the whole <insert female name> during Cavies/Madison shows - it's disrespectful to the corps on the field and you deserve to have your ### chucked out of the stadium for screaming that. The difference with SUTA and VANGUARD being yelled is that they are hype-ups for the performers. Heck, I don't know how SCV designs their shows, but it seems that they have those pauses in there explicitly as a point to scream "VANGUARD!!!", and if they do, the kids know to expect people to do it. It's like BAC with the Conquest shots, there is a vocal part that when I would hear the crowd do it got me going. I don't pretend to know what SUTA means, but for the people at Phantom it's a hype-up and I'm pretty sure that alumni are apt to scream it at appropriate times, ie just before the corps begins performing. Or Cadets alumni shouting "Whatta maneuvaah!" after a difficult drill maneuver. They are all things that are about the actual corps on the field and are all corps specific, involving some of the lore of the corps. Not some d###### voicing his disagreement with the show design. Disrespectful vs. Hype-up, and you missed it.