raphael18

My honest answer is to audition at multiple corps. If you check their audition dates, it is very likely that the corps you are interested in do not share audition dates. If there is a conflict with the audition dates, many groups will permit you to come to their second camp in order to audition (less likely with higher ranked corps, I'm not sure how successful you would be with Regiment on this part). Personally, I marched with a now defunct div 3 corps for two years to learn the basics of playing a marching brass instrument, and I continued on to age-out with Phantom Regiment. To me, Regiment embodies many of the things I find most important: demanding shows, crowd favorite, hardcore approach to staying at attention, serious shows, arguably the best bari/euph line in the activity in any given year. Also, I wanted to be treated well as a member, and 4 warm meals a day sure beats salad bar for lunch. It's a tough corps though, and you will be pushed pretty hard. The best advice is to take the leap and try out. Find out first hand how the corps operate - auditions are as much about you rating the corps as it is about them rating you.

Well, the corps went all black for 1995-1999, then to the tan and white from 2000-2002, then to white from 2003-2008, and to a new white in 2009. So, there have been a lot of changes. The gauntlets and baldrics do change every year - we had black accents in 2003 (and I think 2004). In 2003, Johny Sanchez was writing the drill, and I'm pretty sure he had been doing it for a few years prior. We had some cool stuff, and it fit the music, but I think Tony Hall and Bob Smith were responsible for a lot of the cooler visual effects. Right now the corps is in a tough spot, because consistency breeds success, but you should also cut someone loose if they aren't meeting expectations. It's hard for me to believe the same guy wrote 2008 and 2009, because the drills are so radically different. I'm not sure if the design staff put a lot of restrictions on him, or the guy was simply uninspired. What I do know is that if the guy uses a drill writing program, perhaps the staff should be requesting rough drafts of the drill in order to see what they like and don't like before a single page of drill is ever learned by the corps. Regardless, the visual design has become a glaring Achilles heel.

I am a Regiment homer - I make no secret about it. However...I think you are right on. There comes a point when you just have to accept that a show is not going to work. I think this year is a great example of a group who was given a poorly designed show, but did everything in their power as performers to pull it off. There simply comes a point where not even the most talented performers can make what they are given shine. I give credit to the 2009 Regiment members for sticking it out, and hope that many of them commit to coming back in 2010. I also hope the Board either finds a new drill designer, or makes sure he spends more than a weekend writing it (I know that's inflammatory, but it makes me angry to see such talented members receive such a weak show). Speaking of performance captions - I can't help but feel their is a terrible long-standing trend in DCI to place a corps within a place or two of their final placement across the board. I sincerely think a corps can have a top 3 Hornline, Drumline, or Colorguard, but still finish in the bottom of the top 12.

You just mentioned BD and Cadets in the same sentence while referring to demand...who is drinking the green Gatoraide again? In fact, I want some of what you're having, because while I understand it's anectdotal, everyone I know that has seen BD thinks they may have their lowest demand show in the last 20 years. I think characterizing Crown as "struggling," as the OP did, in any area is pure hyperbole. Let me establish that I'm not a huge Crown fan, but even I recognize that they've fought tooth and nail to get the credit they are due.

I'm beginning to wonder if cleanliness is really overshadowing the demand aspect of the scoring criteria. When I used to listen to judge tapes, I would hear, "I see the corps is really moving while playing that part...added difficulty noted." I admit to having not seen BD live, but all the videos I see really seem to bring them back to the 'move as little as possible' days. If Crown or Cadets can perform at comparable levels while marching substantially more difficult shows, shouldn't that receive some merit? Regiment had continuous simultaneous demand in terms of both music and marching last year when they achieved that score. Can you really say the same for BD this year? Can you even say the same for BD in relation to the rest of the top five THIS year? Being clean isn't enough at this level. That's the reason that a corps can't just arc it up on the front side-line and hope to have the highest caption scores.

The thing you're forgetting is that 4th place is where classic shows generally land. ;) However, in an ideal world I would like to see it something more like: 1) Cadets/Crown 2) Cadets/Crown 3) BD 4) SCV 5) Cavaliers I'm not going to rant about how I feel about BD's show...I think my moving them down two places is adequate enough.

Personally, I've had a hard time enjoying the Cadets since 2004, but the 2009 Cadets have an absolutely fantastic show this year! Regardless of how the final placements turn out, the members should be VERY proud what they've accomplished this summer. The design, the drill, the performance, everything the corps is doing is top notch.

That's nice and all...but is that really worth making a news write up about? People do that literally every summer.

I've been in a past Inaugural parade...and I really think it's overrated. Personally, I think performing at DCI Finals is the most prestigious event a marching unit can participate in. A close second would be performance at BOA Grand nationals. DCI (and BOA) finals are dictated entirely by merit, whereas nearly everything on the above list is dictated by a committee that has their own agenda. To me, an event you gain admittance to solely based on the quality of your ensemble will always be more prestigious. Edit: As far as not including these events because "the general public is not aware of them," I'm afraid that doesn't make them any less prestigious. Personally, I view groups that perform in parades the same way I would a side-show oddity (and I dare say that's how the lay person does as well). You really can't correlate prestige with how widely viewed the event is.

Ha, not only did he lose his shoe, but that happened to be the foot he had to kick out in the wedge at the end of the show.

I came to a conclusion some time ago...pesonally, I'm in the same boat as the OP. I really don't get into themes. However, I do recognize that in rare circumstances they can really add (or detract) from a show. For the most part, I just watch shows with little if any regard to theme (I'll be honest, I rarely, if ever, watch the color guard). Just because that's how I choose to enjoy shows doesn't mean it's the only way, it just happens to be my own taste. My advice, if you don't care about themes...ignore them, if you do enjoy them...please don't knock people who don't care about them. In the end, it's amazing how people get totally different things out of the same show. I loved PR 08, I mean LOVED it. However, I couldn't sit there with a straight face and tell someone that it really tells the story of Spartacus. If you didn't know the story before you watched it, you would have no idea what is going on. It's a great show with some powerful themes, and it highlights some fine moments from Spartacus...but the show itself does not stand on its own to tell that story. Does that matter? No. Themes, mission statements...they are there for the people that enjoy such things. Most of us are just happy to sit back and watch some good Drum Corps. Edit: There was a very good distinction between "theme" and "story-line" that came up later. My comments above are more related to story-lines than themes.

PR is changing to Jupiter Horns...it shouldn't be that big a surprise. JD's ensemble, Boston Brass, play on Jupiter horns. Now, I'm really not sure about this change, but I know they'll sound great on any horns.

The hail, don't forget the hail. I vividly remember watching it bounce of shakos, and plink off horns. It was a good trip though, even if the parade was just...well, let's be honest, it's a parade what do you expect? I did enjoy getting paid by my university to travel to DC, stay for free, and visit all the sights for the low cost of one concert and participation in the parade. I was there with Marching Mizzou, and the best part was that Aschcroft had been named Attorney General while we were 'en route to DC. So, we had no idea what people were talking about as they chanted, "Aschcroft is from Missouri."

Actually, it's a little ironic the more I think about it. They are calling a revival show revolutionary. Here we have Regiment performing the best of 82/83 with modern execution, and they are calling it revolutionary. I love the corps, but there is some humor there. ...and as for Cadets 05, they executed well, but it was a truly hot or cold show. You either loved that one or hated it, and it took a long time for the design issues to get fixed. However, when considering that show relative to its competition, dare I say that was a down year? I would argue that the top 3 from the past 3 years would have made a better champion in 05...

I don't envy the Cadets trying to pull it together for that parade. I was in Bush's first Inaugural Parade back in 01 with Marching Mizzou, we didn't know we were going until December, so we all came back a week early, had two practices and were off to D.C. on buses (the police escort while in state was pretty sweet though). In order to represent the precision and excellence of drum corps a lot of rehearsal time is needed. That's a tall order for any group who just had their first round of auditions, and isn't normally expected to perform while moving until June (wonder why Regiment didn't apply?). Best of luck to them, I know they'll be working their butts off to get this one together.

Just putting this out there - at auditions in 03, we played Fire of Eternal Glory - that was the only time we played it - and an arragnement of Wild Nights that absolutely did not reflect anything close to what we put on the field. So, I'm not sure how much I would base on the music played at auditions...we seemed to get new music daily while the staff tried stuff out. Rhapsody was likely just a test to see if it was viable for a concert piece, but who knows.

As much as I LOVED Regiment's show this year...I'm afraid it was not revolutionary. It was just really really really good drum corps. If anything, it was showing that a revival of the more traditional approach was still competitive.

My favorite was, "See Dick Do Drum Corps" It had several images of a stick figure experiencing the many fun aspects of drum corps. I'm pretty sure it's an 80s shirt, but couldn't tell you what corps. A close second is the, "Be Afraid of the Dark," Phantom Regiment shirts. I got a kick out of the "Boring" shirts that Glassmen put out in the early 2000s.

To be honest, John Williams really doesn't do anything for me. If anything I liked his stuff back when I was in high school as a vehicle to get into what I would now consider quality work. If anything, the lasting appeal is that John Williams' music is very recognizable.

I'm almost positive I recall them stating that De Meij was in attendance in 99 on the broadcast. I think the reason for De Meij's work being difficult to obtain comes from the link provided in the thread: Difficult Songs

Really? I thought he even worked with the Cadets (or at least went to rehearsal and a show or two) during finals week that year. If you can get past the cheesy taxi parts, it's a really really well done show. Oh well, I guess there's no accounting for taste.

Nope, that definitely wasn't it. First, it didn't look easy when they did it, and second...not unless those non-melodic long-tones somehow got tougher. Seriously, look at that show objectively, regardless of competitive scores and standings, and it's hard to believe that is BD. I'm not sure what they sold the judges in critique, but I'm not seeing it. I'll be interested to hear the staff commentaries on the DvD.

I'm not sure how they could have been much closer... Regardless...I honestly think BD got a gift this year. Not a popular opinion, sure, I'll take the flack, but I thought that show was incredibly gimmicky, and didn't have the demand of the other top 4. It really was lacking in visual and music...and demand when compared to the others. I don't know, maybe they lost me when they put Sweeney Todd anywhere near their rep., that was an abysmal movie. I honestly think this was the weakest year for BD show design in a LONG time (worse than 2005). They have great performers, lord knows why they choose to throw away that talent like that. It's like watching a well performed WGI show...without any 'wow' moments. Of course, this is pure opinion, and I promise I'm not a super negative person - normally I really really enjoy BD shows.

I just had to respond to this. You have encapsulated EXACTLY how I feel about music performance. Additionally, as JD Shaw said in an interview following the 07 season (and many times in 03), real musicians get out there on that edge between amazing and chaos. I want to hear that 'sizzle!' See, here's the fatal flaw in the in-tune is louder argument. Groups that play in tune largely do so at the expense of overall volume. So, if you have two groups playing the same chord - one at a very loud dynamic that is not perfectly in tune, and one noticeably softer but in tune...the slightly out of tune one will probably be perceived as being louder. Regardless, the louder yet slightly out of tune one will be more fun to listen to, as there are physiological changes that are attached to the more visceral approach. There are VERY few moments in which a line that was playing at a very high dynamic level also achieved being in tune. Usually something has to give. This is where personal opinion and approach to music come to play. I am inclined to believe that musical instruments are not meant to be homogeneous, and that there should be some character to the sound. I recognize everything above is in direct opposition to what a lot of corps do, and that's fine...music is personal like that.

As for Bob Smith...unless you were instructed by him, it's really hard to explain. He had a very abrasive method, but you had to respect it because he got results. I learned so much about cleaning drill, and subsets, by observing him. His ability to see small mistakes on both sides of the field during even a short rep always amazed me. The members reaction to his instruction sort of went through a development all its own. At first, you were scared to death, and his comments would make you want to go back to the housing and cry. Eventually new members would learn that his comments had an air of humor to them, and we would laugh harder the more outrageous they got. Though he tended to tone it down when people were watching rehearsal, every now and then he would unload, and it was really funny to see the reactions of people in the stands. The scariest visual combo I have ever seen was Tony Hall improvising drill with Bob Smith trying to translate and clean it. It was both very exciting, and very frustrating, and the end result was very very effective. That experience gave me a much larger appreciation for the 1993 show.