happycomposer

It's sad because the queer community there is surprisingly large and so friendly. Tennessee's just full of lawmakers who are out of touch.

Been going every year for 11 years now (well, one of those years was in the Vanderbilt stadium, which honestly I enjoyed a little more, but that's another thing entirely). As others have said, it's a great venue! Bowl stadium with ample parking and room. Expect a lot of area high schools, lol. Two things to keep in mind: There is ample parking, but be prepared for a bit of a walk, especially if you park on the wrong side. Also, they usually run out of bottled water by the intermission - plan accordingly.

Hi all. I'm laying the groundwork for research on the different eras of drum corps and had a question regarding asymmetrical drill, the tick system, and George Zingali. While reading this, please keep in mind that I marched in the late 2010's, so I am still learning about the activity in the 1980's and its changes! With these things in mind, I wanted to ask about Zingali's work and its influence. If I have my info correct, the tick system was fully removed before the 1984 season. Considering Zingali's work with 27th and the Cadets, were the tick system's "tear down" judging sheets changed to more appropriately judge the innovations of the activity, ie more complex drill? Did Zingali's work have a direct impact on the decision to make this change? If so, was the Cadets's 1983 show the nail in the coffin, so to speak? I also recognize that Zingali isn't the ONLY innovator at this time - even in drill, I know people often cite 1980 SCV as an early instance of asymmetrical drill. And I'm sure that there were arrangers also pushing at the seams (any insight into music specifically would also be helpful!). I simply highlight him and his work because, in retrospect, he is highlighted as one of the most important innovators of the 80's through '91. Another unrelated question - how did TEACHING at the Cadets change between 1983 and 1984, to reflect the changes in judging? Thanks everyone. Edit: formatting

Oh wow. This is super interesting! And extremely helpful for my research. Since that comment my thesis has become more about how people make associations with repeat repertoire selections, so the fact that creative staff made a unique composition to AVOID that direct association is a super interesting point. It also makes the fact that people still hear that association even more interesting. Thanks for the tidbit!!! (Can't reach out to GH for obvious reasons and I've reached out to Jay Bocook and a few other creative staff from that year and haven't heard anything back... this is a real hail mary!)

Revivng this long-dead thread to look on it with hindsight - Two things... one, I bet the reason that the 2005 Cadets asked Bocook to write two original pieces and base them on Whitacre's Equus*** and Barber's Medea is because they likely paid out the *** for the rights to use two Bernard Herrman compositions as well as two of Bjork's songs, both of which come from a film. Depending on who owns the rights to those songs, they may have had to shell out a lot of money for those. Two, with the benefit of hindsight this use of Medea is SUPER interesting because intentional or not, this is one of only FOUR instances of Medea being used in finals (up to 2023), and that makes it referential regardless. Outside of finals, it's only been directly used three more times (not counting DCA or international corps). Between 1993 and 2005, no Div 1 or Div 2 corps played Medea (Crown's "inspired by" original composition in 2002 really sounds... nothing like the Barber). And suddenly GH and the Cadets decide to use it in a show designed to win, that would end up tying for the highest score of all time to that point? From my high tower in 2023, that SCREAMS "hey Star alum, look what we can do." This is to say NOTHING of how intentionally or unintentionally referential the Cadets 2013 version is, with the way it's arranged into the brass being extremely similar and also hitting similar beats teleologically (like how it starts with the small ensemble brass, for instance, and how the build to the final hit of the show has some material that could have been pulled directly from Jim Prime's book in 1993). And don't even get me started on Crown 2016's version (a ######-off show from Star's spiritual successor? Come on now!) I'm doing some research about this and just thought I'd weigh in. Super, super interesting stuff with hindsight. ***We also got the monumental Liquid from this. Go Jay Bocook!

Is this offer still up for grabs? I'm facing a similar issue.

It IS being done. Over on the drum corps subreddit, we're talking about the same issue, and so a friend and I started the Marching Arts Wiki, a place to preserve, update, and clean up these wikipedia pages since they contain easily understandable and reachable information. Our plan is to work in collaboration with dcxmuseum and keep the website regularly updated with ALL significant corps, both folded and active, as well as branch out into WGI and major marching band circuits like BOA. The problem is, we still need people (especially people who have seen and know the greater history of the activity) that will regularly maintain and update the website as needed, as well as people who know enough about the logistics of both maintaining a website AND making its existence well known.

Hi all! When looking at the spread of Cavaliers scores over the existence of Drum Corps International, it's clear to see that the 2000's were the Cavaliers Decade (at least, from an objective retrospective). My question is: what led to this? What elements (be it staff, writing, membership, etc) contributed to such consistent success? Thanks!