CrossmenAlumni

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About CrossmenAlumni

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  1. CROSSMEN Mark Thurston 1984-1996 Thom Hannum 1997-1999 John Cypert 2000 Lee Beddis 2001-2004
  2. There has always been something about the Cadets that screams "AMERICANA," from the classic West Point-style uniforms to the decades of tradition and excellence which helped push the activity forward into new and exciting realms. It has been my honor to pay tribute to this iconic American corps in a pseudo-impressionistic style. It would be an ideal gift for Cadets members or alumni, or for any passionate drum corps fan. It’s acrylic on a 16” x 20” canvas and I’m selling for $250. If interested, or if you know someone else who may be interested, please send me a private message. Thanks!
  3. I believe the Iron Cross only lasted two seasons as the Crossmen feeder corps, 1979-1980. In 1979, their Class A Championship score in Birmingham, AL was (drum roll, please) .....12.05, good for 18th (and last) place In 1980, their score improved a whopping two points at the same event to a 14.05, but alas they dropped to 21st (and still last) place And this was under the tick system. I can only imagine what the judges' comments were like on the tapes or sheets. A guy who marched in the Crossmen in those days told me that he never remembered seeing the Iron Cross practicin
  4. Many people know that the Crossmen were formed in 1975 as a merger corps between two long-time southeast Pennsylvania rivals, the Keystone Regiment and the 507th Hornets. They may also know that the name "Crossmen" was derived from the 507th American Legion Post in Norwood, PA, which was named after a World War I veteran named John Wesley Cross. What they might not know was that it was the members themselves of this new "supercorps" who actually chose the Crossmen name in a "Name The Corps" contest. Below is the actual sheet of paper with the many suggested names for the corps and a check
  5. When you think "early 90's Crossmen," you think drumline, and for me as a horn player in those corps, I cannot begin to describe the pure joy it felt to play our show with that amazing drumline laying down a groove behind us. Nobody looked or sounded like them. They were completely unique in the activity. This is my tribute to those Crossmen drumlines, and it would be a perfect gift for Crossmen members or alumni, or for any passionate drum corps fan. It’s acrylic on a 16” x 20” canvas and I’m selling for $250. If interested, or if you know someone else who may be interested, please send me a
  6. OK, I've slept on this and decided to say a few things here... 1) The Crossmen have had their issues with design AND performance the past several years, and hanging the star on *only* one of those aspects as being THE single reason the corps has faced some struggles is foolish. Last year, in particular, I believe was a complete and total organizational programming miscalculation on a grand scale at nearly every level, and couldn't have come at a worse time. But I stand by what I said in that if you want to be a finalist corps, you have to be able to perform and achieve at a certain level. Hav
  7. I'll disregard the comment that I was somehow disrespecting Jim Prime. I wasn't, never intended to, and you simply took it the wrong way. We'll disagree on 2008. I thought that show was designed well enough musically that a stronger and more well executed musical ensemble would have propelled them into finals. But on the last point, we just won't be seeing eye to eye and we should probably stop trying to continue this conversation. In my experience teaching drum corps over the years and dealing with the judging community, excellence is the single biggest factor that bleeds into all other capti
  8. All I have to say is that for each of those years, I can think of only one section in the corps that even remotely resembled finalist performance calibre on a consistent basis, and that was the 2008 color guard. I'm not saying that the music design has been great all those years, either. But I am saying that focusing on just that one aspect when there are other issues at hand as well is short-sighted. If the corps can't march or play or drum or spin consistently well, it won't matter if Aaron Guidry is writing the parts or if Jim freaking Prime is. They've got a lot of decisions to make in the
  9. Year four. And year one with the current design team around him, and YES, I think that does make a difference. Also year one of having more direct guidance from other people on the design team assisting him with that arranging process. You seem to think four years is enough, that there is absolutely no promise or worth in anything he's given them, and should be discarded. They obviously disagree and are willing to mix and match some of the supporting pieces and see if they can make something happen with him. Maybe they'll move on if it doesn't work out in the end this year. I really don't know
  10. A combination of a lot of things. It was not the best winter in terms of recruiting and they've had problems filling those last few spots as far back as spring training. When I saw them back in June, they had people working into those spots, and some of them just didn't pan out and quit. Then other kids got injured and more holes opened up. It happens. I don't know if they have people for some of those spots right now and they're just not all the way through the show yet, but I know from experience that jumping into a spot mid-tour can be one of the most stressful and least enjoyable experienc
  11. When you're a solid finalist corps or gunning for a championship, I would agree. But you can't get into that conversation until you can march well, spin well, play well, drum well, and play in time together. They're just too inconsistent right now in just about every area of the game. We'll see how it shakes out in a month. Blue Stars? Blue Knights? Crown? Madison? Some advanced quicker than others. Some built pieces here, added some pieces later, some are doing well but still will be looking to address certain needs in the next year or two, which is what I've been saying. You're basically p
  12. Sounds like you have an as-of-yet-unspoken axe to grind here with either Mr Guidry himself or Mr Chambers for deciding to give him another crack as arranger for this year's show. The fact is, they didn't bring him back out of blind loyalty. There's more to it than that. They assembled a design team this year and brought in a show designer who has had a successful track record with Mr Guidry that previous design teams did not have. They're giving it a shot and seeing if they can work together and make something happen. Maybe they make a change next year, maybe they don't. But there's a lot of b
  13. Thanks for stating this. I agree with much of what you said. It's generally accepted that making it into the top 12 these days is more about how well you perform your show rather than what you perform. They're very inconsistent performers right now, as to be expected with so many new and young members. Also, you are dead on about Aaron Guidry listening to and appreciating feedback, good and bad. He knows what the criticisms are, and from what I know about him, he cares very deeply about the Crossmen and giving them a great product. He has also been very receptive to having experienced drum cor
  14. I agree, and I *THINK* that's the area they eventually will wind up going into. Maybe not with that exact kind of jazz, but with more of a jazz slant to what they present musically than most other corps do. It will be interesting to see what happens.