newdaddy

So, four of these tickets (for both nights) have been sold. I still have one (seat 4) if anyone is interested in buying a single seat. I could sell one seat for either night, or both nights, whatever you want. Thanks!

Hi, yes, these tickets are all still available. Send me a message on this website, if you can, and we can work out details. Or, you can also email me directly, at chrisrose (dot) chrisrose (at) gmail (dot) com Thanks -

I'm selling five tickets to the DCI Eastern Classic, August 5 (Friday) and 6 (Saturday) 2016. Both nights are for Section H, Row 7, Seats 4, 5, 6, 7, 8. I think these are pretty good seats. Face value is $35 per ticket, I'm asking $25 each. I'll split seats but not nights - you can buy two seats, or three, or four, but must buy both nights for any seat you buy. I had wanted to take my family to Allentown, but it looks like we're going to the beach instead. Please help me out!

Or maybe there is no minimum age for DCi? Next year, BD fields a group of babies playing Fisher-Price xylophones. In any event, I'm sure it was past that girl's bedtime. And in Indianapolis, tonight is a school night.

How is that little girl in the yellow dress even legit? Isn't she too young to be on the field? I need a ruling here.

I have one ticket to sell for each, Friday and Saturday, they are section 336, row 2. I don't know if it's legit to post this here (and if I'm violating a rule, I apologize, but I would feel bad if these tix went unused.) I'm asking half the face value for them. You can text me at chrisrose (dot) chrisrose (at) gmail (dot) com.

I apologize to everyone in this thread. I was a little outraged at not being able to do things as I had before. I guess I should have done more research before I started typing - thanks especially to N. E. Brigand for shedding some light. I do hope DCI and the rights holders are able ultimately to work it out. It's really a high point for my summer and surely that's true for anybody posting on these forums also.

Well why would the licensing situation be any better on August 30th than it is on July 15th? I'm willing to believe any rational story, I really do love DCI, but the story's got to make some kind of sense, and they've got to be transparent about it. I still suspect that really either they want you to buy DCI Live! instead, or they've just decided the mid-season audio is too much work for too little revenue. Or both. They could charge me as much for the audio recordings as they would for a mid-season DCI Live! show, and I would be ok with that. But I want to underline that the DCI Live shows simply don't work for me, it's not that I'm trying to be cheap, they wouldn't work for me at any price at all. Audio recordings and live video are two different classes of things, they're not the same, one can't be substituted for the other. And the mid-season audio is valuable, for me, until the moment the finals recordings become available. Last year I bought a round of mid-seasons and then the finals CDs. This year, it looks to me like I'll only be buying the finals CDs, so this is just lost revenue for DCI. Or it's simply bad, uncaring stewardship of the activity. Repertoires are settled by what? March or April? And they can't get the rights issues worked out, even though they could every prior year? I'd like to hear or read something directly from DCI on this issue. I'm going to mail DCI directly and tell them how I feel about this issue, and I hope others will do that too.

Yeah, I really hope someone from DCI is reading this forum. I've always bought audio recordings. I am not a bootlegger. I have end of year recordings from years I've turned out for shows, and for years I entirely missed the activity. I've bought mid-season audio and bought audio for individual years and shows I really wanted. I've never in my life bootlegged a show. I'm willing to show DCI my iPod and my computer to prove this. (I think part of what makes me feel strongly about this is that wherever you go now, everyone assumes that everyone else is going to steal as much intellectual property and copyrighted material as they can get away with. It's true for music, it's true for movies, it's true for video games, it's true for e-books. A priori, everyone assumes everyone else is a criminal, and treats them that way.) I think showing up at finals without any kind of musical foreknowledge of the material puts the listener at a real deficit. Holding off selling the mid-season audio isn't going to make me pay for the video because I have a wife and young kids and a career etc etc. I'm not some retiree that can drive around the country seeing shows at my leisure or even block off a weekend night to lock myself in a room and ignore my family to watch the video. I can't make those things work. I've been interrupted by kids five times in the course of typing this one message - honestly! The way I familiarize myself with the shows for a season (before it's over) is to buy the audio and to listen to it on my commutes. That's what makes me want to see the shows. That's the best advertising they have for guys like me. Holding back the audio doesn't make me want to dash out to Austin to see a show, or to pay for a season's worth of video, because these really aren't viable options for me. Holding back the audio wants me to see the shows less, because I can't hear them in my head, I don't know what they even sound like. If they can sell you the video mid-season, I don't get why they can't sell you the audio. I'm really not buying the licensing story. It makes me angry to think I am being manipulated to get some more money out of me. I've spent thousands of dollars on this activity (and I never even marched in it.) I've got CDs, videos, tour shirts, sweaters, I come out for shows whenever I can. I got three day tickets to Indianapolis this year, I'm bringing my wife for the first time in her life, I drag other people to shows whenever I can. I'm a lifelong fan, I'm exactly the kind of fan they want, and if they are ticking me off, then the problem is on their side, not mine. If they're taping the shows, then they have the audio. They sold the mid-season audio last year, and the year before that, and the year before that, and the year before that. Just do the same thing.

Sorry if this is mentioned above - did the Coats change their ending at the Buffalo show? There is reference to this in the Buffalo show forum, but I get the feeling someone is pulling everyone's leg. The word there is that the ramp jump was removed and a "double Z pull" was put in its place. Could someone knowledgeable confirm or deny this? (I love the ramp jump, that is one reason why this seems incredible to me.)

My money is on the queen turning into a dragon at Allentown. No insider information - just my guess.

Sorry to come late to this thread. My theory about this show is not that it somehow portrays or relates to current DCI events or politics. I think that at some level this show is about Star of Indiana leaving the activity. (Maybe this was said before in some other recent thread?) Honestly that is something worth a requiem, don't you agree? My brother pointed out to me the way this show ends. He said "At the end the corp walks off to the corner of the field , the towers cut the field in half and the guard is left if the other side. " Just my own interpretation - I have no insider info -

How about a show about citizenship having a pre-show where, for the final show of the season, the pre-show features someone quickly getting sworn in as an American citizen by a real robed judge? This can only end one of two ways - an actual wedding in the pre-show or an actual wake.

I still remember when Cadets guard all missed catching a flag toss, intentionally. I remember the era of Cavaliers' primitive drums. I remember the night I stood, jaw agape, when Vanguard made their entire corps disappear at the end of their Phantom of the Opera show. Sometimes the things we really remember are truly excellent musicmanship, ruthlessly clean drill, painstaking detailing of a show. But sometimes the things we remember are something else - more than stunts. Call them ingenuities, novelties, inspirations. Creatively playing with the rules. Showing the audience something new. But I admit, I have no knowledge of the actual rules of DCI competition. So, I brainstormed a bunch of these kinds of things, and I'm asking the question - which of these are legitimate in competition? I'll leave it to the rest of you to imagine a show where each of these might fit, artistically or otherwise. 1.) Alphorns? Or gigantic, excessively large Suess-like horns? Or one humungous drum? 2.) Shofars? Ram's horns? 3.) Can battery and brass use flags or equipment? How about the pit? Could a whole corps flash flags all at once? 4.) Building pyramids out of guard members, launching jumps etc as in cheerleading? Springboards as per gymnastics? Teeter-totter-aided jumps as in circuses? 5.) Wheels - unicycles, bicycles? Inline roller skates? Skateboards? Guard members in giant hamster-balls (like Peter Gabriel)? 6.) Spring-loaded launching of streamers (maybe attached to the instruments?) Flags or streamers flung from catapults or atlatl? 7.) Can brass players put down their bugles and beat on something - an MPE* (Massive Percussion Event)? 8.) To what degree can the audience participate? Like, SCV yell - could there be a call-and-response with the audience? Could you get the audience to scat with you? 9.) Put the director/conductor in the middle of the field, as Mickey in 'The Sorcerer's Apprentice'? 10.) Musical robots? Is, for instance, a metronome a crude kind of musical robot or mechanism? Could you just set loose a hundred slightly mismatched metronomes on the field? How about flag droids? 11.) Stilts? (I think Cavaliers did this once?) 12.) Large puppets as in street protests? Big Chinese dragons as in Chinese New Years'? 13.) Tumbling? Trampolines? 14.) Could the Phantomettes, say, just pick up soprano bugles and blow some awesome lick? How cool would that be! 15.) After PR's Turandot, it has to be asked - how many people are allowed on the conductor's stand (at once)? Can you play an instrument(s) from there? 16.) Illuminated or otherwise wired uniforms? Uniforms that flash or light up? Instruments that strobe to the beat? 17.) In-ear electronics that could deliver a 'click track' directly to the performers? 18.) Is it even required to have a conductor on the field? 19.) What are the limits of personnel per type of instrument? Could you field thirty contras, say, for one segment of a show? Forty? 20.) Helium balloons? Radio-controlled balloons with motors? (OK, this is crazy I admit.) Gigantic, inflatable props to tell a story (Carnival of the Animals)? 21.) Lasers and mirrors. Reflective equipment and uniforms. Mirrorballs. Mirrorshades. Q-beams and a crystal chandelier. 22.) Stage magic - ladies sawn in half, levitating the conductor, drill with interlocking rings, making the battery disappear? Locking the conductor in a trunk a la Houdini? 23.) Styrofoam gliders or paper airplanes? Things I'm pretty sure aren't allowed, or shouldn't be - flash powder, fireworks, paints, confetti, water, smoke-making equipment, video and projection equipment, live animals of any kind. Shooting anything (tour shirts, confetti, water) at the audience. Filming the audience. Trapping or chasing the judges.

Someone should consider Mancini's score to Arabesque (as long as I'm dreaming here.) The main theme is screaming for a pile of aggressive brass. The best bit is the spooky chase-through-the-aquarium sequence. It still gives me goosebumps. Lots of innovative percussion and effects - not sure how that will translate to the field, but would be fun to attempt. It's such a big drum corps cliché that the ballad is lovey-dovey - I'd like to see one that is genuinely eerie.