musicteacher

I'd bet four years in a row with the same designer and caption head team is a first for them, at least in a long time. Like others, they seem to have learned the lesson BD has taught -- stability is necessary for sustained success.

Touche.

Seinphan has this one -- and his rationale -- spot-on. Hannum always said his 1st responsibility was to support the wind score. Thom, Rennick and Ralph are three of the best musicians the activity has seen.

Re: Bil Cook helping others. He was responsible for 27th Lancers being able to get home from nationals in 1986. There was so much jealousy toward that organization, but Mr. Cook was a true humanitarian.

Or...they looked at those two uniforms together. Similar look when St. Kevin's of Dorchester (red, green and white) merged with the Majestic Knights of Charlestown (red, white and blue) in the late '60s. Equally...interesting

Sideways, that is essentially what I has told by someone who marched in '89. Klesch left after '88 and they brought him back midway through the winter leading into '89.

Interesting, Boxing. Colts were 9th last year. Crossmen have been out last two years and will have a new percussion writer and visual writer. And...Mandarins 9th in your predictions?

Craiga, behave!

I believe Michael Klesch wrote the Les Miz show, at least the bulk of it.

Beautifully stated. Many of us have been there.

Frank Dorritie, Charley Poole and Mark Kohler were responsible for that masterful music design, and it was a spiritual experience for those who taught it and performed it. There is a little known story behind one segment of that show. Don Angelica was brought in as a sub rosa consultant. He strongly urged that "Being Alive" be included in the show. Little did most of us know that at that time, he was terminally ill. It is a show that lives in our hearts and minds to this day.

I was lucky enough to work with Robert a few years ago. As has been stated here, he was brilliant. He could speak intelligently on any musical subject. His Suncoast work alone could define a career. As a high school band director, I programmed many, many of his pieces and my students always benefited. He had great creativity and a thorough understanding of what it takes to make a band sound good and provide a great educational experience for students. His contributions to drum corps and public school education can't be overestimated.

Who is the new program coordinator?

Bob would be incredible.

1986 27th Lancers as part of their "Sondheim Suite" show. Based on the Barbra Streisand/Peter Matz collaboration. Great stuff.

What Weakleft said.

Ah, but if George was around, he would have adapted in his own way.

Amen, Ironlips. The visual designs -- to this day -- are jaw dropping, but the under appreciated aspect of George's work was. its impeccable musicality. And Marc quoting a key architectural principle shows both were far ahead of their time.

Kerchner may not have been around in 1987, but I'd bet anything that those were his charts. Most of that material had been performed by Bridgemen. 1982 North Star performed his chart on Sabre Dance, which -- if my recollection is correct -- was originally written for Hawthorne Caballeros. Dennis DeLucia is the link here.

Thanks for the clarification on Cesario.

This activity's Picasso.

Bossa, Some of your early Star history is off. Jim Mason was not the brass arranger. Larry Kerchner was. Mason was management, with possibly a hand in design. I don't recall Michael Cesario being part of that team, although I could be wrong. DeLucia was indeed part of that team, but he was hardly poached. Bridgemen were done or nearly done by that time. Not mentioned in your comments, but Prime and Hannum came later. Prime hadn't written for Cadets since 1984. Both Hannum and Zingali (as well as Sylvester) were with Cadets as late as 1988. I don't know if you could call them landing in Star a poaching. I believe they left of their own accord from Cadets. Brubaker wrote for Star early on.

Not everyone is going dark and dreary, but I get your point.

Colts' connection with the audience and the kids' connection with the show.