musicteacher

oops. The was Twyla Tharp.

The great dance choreographer and artist said something like this (check out her The Creative Habit, "There is nothing new. Get over it!"

I do know that those who were connected with that production were affected forever. There was a spiritual vibe to the show, staff and members that was very special. We were all aware of the challenges of the season operationally (the corps not having a staff for a critical week of the season because of an inoperable staff bus. At one point four busloads of people were crammed into two buses), financially and creatively (the reluctance of some to accept a non-Danny Boy Lancer identity.) It was the art and the inspiration of people like George Zingali, Frank Dorritie and Charley Poole. The outside world looks at 13th place. Those of us who lived the '86 Lancers appreciate that -- despite or maybe because of the challenges -- it was a once in a lifetime experience.

Tim K, very well said!

There's a subtle point being made by Craiga that might be easy to miss.

A big part of the reason many corps don't release repertoire until late in the game is licensing for the material in the show. The licensing people have been notoriously slow in granting approval if it does come. Repertoire changes have been made because licensing has dragged its feet and then, shortly before the season licensing says, "Oh, you can use it." Too late. Gone are the days when you could choose music with impunity. Another thing that has given corps pause is announcing selections and then having their choices torn apart in social media. Unfortunate, but this has happened too often. I agree that these situations have put a serious lid on preseason buzz.

Very well put.

LabMaster and John make tons of sense. We tend to focus on what the activity hasn't done right, but the stability of organizations and concern for member and staff experience is so much better than it was back in the day. Everything LabMaster says about the member experience back then is spot-on.

Particularly the Bartok.

An X factor was that Jim Prime was not writing those other shows. He was expert at stretching boundaries without losing drum corps audiences. His work stands up so many years later.

Gems, from one of the real gems of the activity. I want to be like him when I grow up!

Boston's Animal Farm.

This reminds m of the great brass pedagogue Frank Williams' classic line, "Trumpets, this is your new part here." Then...silence.

Outstanding move! Howard was the driving force behind the corps' first ascent into finals and his tenure was very distinguished. He will add another dimension to what has become one of DCI's best organizations.

BD

Jeff's point about Cesario changing the GE trajectory is well-taken. It may be his greatest contribution as DCI's artistic director.

I thought craiga was hibernating. Great news on Ancona. He is the real deal.

Yes. More than a few visual judges are out of their depth when it comes to appreciating/understanding/crediting music design and its impact on the total program. Like you I had hoped for a change back.

Jeff, I agree with everything you say and appreciate your reasoned response to my somewhat provocative question. In some ways this is a nuanced discussion. I'm certain Michael's partnership with Thom was an equal one. What has changed is the evolution of percussion integration, particularly soundscape. So the balance of the elements has been affected in a way that differs from their collective writing style. I suspect they tried to alter their approach, but a soundscape-led style isn't in their creative DNA. They have their style, but there is a do si do that has occurred recently between some other brass arrangers and percussion/soundscape people. It has been a struggle about who is the leading. creative voice. I have seen this up close. I've seen a couple of excellent brass writers be treated as stenographers by their percussion counterparts. I can think of three of the activity's best writers who lost that battle. I doubt that two of them will ever write in the activity again, and the third is diminished. The unfortunate result of the activity's search for the next new thing, I guess.

Jeff, is it your opinion that Klesch is flawed?

Re: that bit of BAC history, Craiga is absolutely correct. My pay my first year on staff was the caption head slipping me a few bucks "for gas money."

I'm not saying I disagree, but it's a little sad when the efforts of one of the best music writing teams of the past 20-plus years can be dismissed as not giving the corps the opportunity to be competitive. Thom has said it for years: his primary responsibility as a writer is to support the wind score. Klesch and Hannum worked hand in glove in various venues to create an artistic vision. They succeeded. If this isn't au Courant, so be it, but...the activity is just a little poorer for that. The bright, shiny object in the activity has often been what's new. I am fully confident that Michael and Thom's oeuvre will stand the test of time.

Russian Christmas Music -- Alfred Reed

It is interesting that they have a complete design staff listed on the web site, but no brass arranger. When I asked earlier what had happened to last year's arranger, Daniel Montoya, it was crickets. Then Boerma, whose hire seemed to have promise. This appears similar to a situation several years ago in which Brian Murphy was announced as visual designer, and was quickly gone. That was the same year they announced the appointment of a very green brass arranger, who was quickly gone, also. I'm wondering if this isn't part of a larger dysfunction.