ajlisko

Okay ... time for some levity in all of this ... I don't know where this will go ... kinda "off the cuff" : Copyright Police: Hi Mr . Diddle Para Diddle : Please, call me Para CP: How can I help you? PD: Someone is stealing my diddles without permission ... they're mine and I want royalties ... I invented the Para-diddle CP: Hmmm ... can I hear a sample of the stolen music? PD: Sure ... RLRR ... LRLL CP: Hmmm ... sounds like 16th notes to me ... PD: BUT ... it's not RLRL ... it's RLRR CP: So ... it's an interpretation PD: NO ... it's a pattern ... CP: Yes, of 16th notes ... PD: But ... but ... my pattern goes RLRR ... LRLL ... not RLRL RLRL ... you see the difference? Mine is unique! CP: Hmmm ... Mr. Double Stroke was in here the other day ... sounded the same as his: RRLL ... RRLL ... not to mention the Mr. Single Stroke came in the other day and said you infringed on his territory ... PD: BUT!!!!! ... Mine is UNIQUE!!!! ... Every non-drummer in the universe knows the Paradiddle ... it's the first thing out of their mouths when they meet a drummer ... CP: I see ... but the others do have a valid point ... especially Single and Double Stroke ... your variation would be considered a "hybrid" of both ... DP: ... BUT ... BUT ... CP: Sorry Mr. Diddle ... looks like you owe Single and Double a lot of back payment for rudiment infringement ... DP: But ... but ... I AM PARA ... PARA DIDDLE ... the MOST popular rudiment EVER ... Single and Double owe EVERYTHING to me! CP: Hmmm ... not if they came first ... :-)

>>>wait,..............when did al gore invent the internet?<<< Well ... according to the current Internet (and it must be true because it's on the Internet): Al Gore served as the Vice President of the United States from 1993 to 2001. He is the co-winner of the 2007 Nobel Peace Prize. In the 1980s and 1990s, he promoted legislation that funded an expansion of the ARPANET, allowing greater public access, and helping to develop the Internet. Sooooo ... there ya have it ... :-)

>>>...there's no well to tap.<<< ... but, though the Corps may be dead, I'm still alive ... this is not encouraging, to say the least ... I always thought my own stuff was ... well ... my own stuff ... time for more red wine ...

>>>See no one enforced stuff back then because you couldn't find it so easily<<< Okay ... you lost me here ... licensing wasn't enforced because what couldn't be found easily? ... We all knew there were copyright laws back then ... we just never knew what they meant ... I always thought an original copyright was good for 17 years (that sound familiar to anyone?) ... the subject matter Big W and Adcock are disclosing is way beyond my comprehension ... and the layering between arranging, performing, syncing (still don't know what that means) and visual/movement vs. just the written score is mind boggling ... at least for me ... Just finished shoveling another 6" here in CT ... time for some nice red wine ... I might write a new solo tonight and copyright it ... not that anyone would ever use it ... it's just the principle ... :-)

>>>That said, it's unlikely the copyright holders will go back and take action against arrangers for something done thirty years ago. Heck, there may even be a statute of limitations on such action....that's actually an interesting question.<<< I asked from a personal perspective, knowing the deep pockets that some have to pursue legal action ... having written drum charts to accompany a myriad of tunes for corps I marched in and taught through several eras, everything written by me was "original" ... I never even considered looking at the percussion parts to any song or master arrangement ... would I, and the many who wrote original drum charts to many, many published musical works be at risk? This is good stuff ...

>>>yes, as they are the 'arrange" component to the agreement..............in most cases when you submit for the rights to arrange and perform, they want the arrangers name, and the copyright information published on a full score sent back to them, to perfect the agreement,.....................<<< So ... to deepen the thought process further ... if the USMC and AF Drum Corps did not acquire the rights to the volume of charts penned by Tru Crawford and Keith Markey, (or any military music unit), the US Government would be at fault also? ... or, is there some special exemption in place? ...

>>>Those companies/individuals are absolutely at risk. And no, an agreement with ASCAP/BMI is not the same as securing synch/mechyanical rights. Like we've said before, drum corps in general has been blatantly abusing copyright for decades.<<< Interesting ... are the Arrangers themselves at risk for any music that wasn't licensed by the organization they worked for?

>>>That's what it will take. You figure minus 68, DCA has recordings from 65-14. ... ... So DCA basically has 50 years of make goods plus negotiating current product. DCI has back to 72. If DCA recorded everyone at best you have 7 to 26 corps worth of shows to sift thru.....per year.<<< Not sure when DCA itself took of three recording of their Championship weekend ... but, wouldn't Fleetwood, Master Records, DCW, and the estates of Wateska, Dale Richards, Stetson D. Richmond and others also be at risk also? ... and not only for the Championships they recorded but, what about all the other shows like The Dream, Barnum, Mission Drums, Fresh Air Fanfare, Evening With the Corps, and on and on ... how could Fleetwood be able to put a Copyright label on each of their records? ... Would an agreement with ASCAP or BMI have protected them? ... This is really interesting ... and I'm curious ... because the Corps themselves never benefitted from the sale of any of their recordings (to my knowledge) back then ... (okay, maybe I-men when they released a 45 of Little Drummer Boy one Christmas) ... I'm not making light of anything but, IMO, it ain't just DCA that could be on the hook for some serious jing ...

>>> I and some of my former marching friends would like to listen to whatever recordings of The Royal Coachmen or Imperial Regiment are out there. These recordings would not be played in clubs but in the privacy of my car or home. I think we would all swear to that!<<< There's at least two recordings of RC (1970, 1973) for sale via DCW in there historical CD listings ... there are also a couple of DC recording preservation groups that can probably lead you to some of what you want to hear ... John Sheragy (Sun, Sky) is a collector who lives in Clearwater FL ... he's amassed about 6,000+ recordings over the years ... Glen Kubacki, who partners with Fleetwood also has many contacts ... and there's also Ken Mason in the Midwest who has a sizeable library ... hope this helps you a little ... :-)

>>>identity was more refering to alumni corps<<< I know ... the word and image of Mora being interviewed about the topic just struck me as very, very funny ... it was intended to be "tongue and cheek" ... I don't think Sky's Alumni has ever dropped a number due to performance licensing fees or refusal ... but, I'll let the current admins know of your statement regarding the future ...with DCA's dropping of the Alumni Classic, I doubt they'll be professionally recorded at all in the future ... don't know if that enters into the equation anywhere ... Happy Super Bowl day! ... hope the commercials paid all their license fees ... HOO HAA!!! :-)

>>>Doesn't always help when corps try to stay with their identity<<< To paraphrase an infamous response to one word in the crowd, I thought of this immediately upon hearing "identity": "Jim Mora heard one word," said John Michael Vincent, then of sports radio 1260 WNDE, "and that keyword -- the trigger and the blastoff of this meltdown --was "identity.'" You know how it went down. Mora, his face contorting in disbelief, responded: "Ah -- identity? Don't talk about -- identity? You kidding me? Identity? I just hope we can win a show! Another show without being sued for the music we play!" :-)

>>>And by the way get ready for it to bleed over to performance and arranging rights<<< Sure glad Sky Alumni plays Alabama Jubilee (some years) ... in the Public Domain library ... maybe more corps should explore those options ... lots and lots of stuff in there ... :-)

What's an Ensemble Coordinator?

>>>what does the first sentence mean?<<< ... sounds like they'll be experiencing membership numbers and rehearsal facility challenges in the future ... the demise of many Alumni (and competitive) groups ... looks like they'll be continuing their Mini Corps though ... maybe they'll perform at some of the BHOH I&E shows in the area ... that would be most welcome ...

>>>Hooray for the Roo!! My wife and I have talked to him and very nice guy... PS does Sky keep archive of scores anywhere?<<< Actually ... this Andy is "not the Roo" guy from the St. Mary's Cardinals/Hawthorne Cabs ... but, rather the OTHER Andy from the Bpt PAL/Skyliners ... although, I have been called a nice guy from time to time ... Sky does have a complete set of scores ... just not online yet ... we've been working on compiling the list for a number of years ... Andy "not the Roo" Lisko

>>>... as we all know people love to criticize on this website<<< Hmmm ... is that a criticism?

>>It would be fun to start but I am not in NY, wouldn't know how or what to do. BUt there a lot from the entire state of NY<< The irony is that half the people on the list probably live in FL with you!!!!! :-)

>>...and that's just the ones from up-state! Add the metro area and you're way up there in numbers!!!<<< So ... let's think about this a little and see where the NYHOF talent pool could lead Keith: Tom Swan Tommy Martin Bill Hayes Pepe Notaro Duke Terreri Sr. Ernie Fesler Joe Genero Hy Dreitzer Bob Bunce Carman Cluna Johnny Guarino Joe DeFiglia Jack Meehan John Sasso Ted Sasso Fred Rose Jack Dobson Sol Anthony Eddie Lawrence John Bailey Joe Candelaria Jimmy Ednie Jimmy Maldonado Sam Aaron Hank Goldstein Artie Olsen Don Freising John Arietano Uncle Nick Bobby BellaRosa Bobby Burke Lefty Patrakis Wes Myers Lefty Mayer Raymond Garbarina John Mazarakos John Urspuch Billy Hightower Frank Dorritie Billy Cobham Frank Kubinak Harry Hazelwood Walter Winkelman Butch Anderson Vinnie Ratford Eric Perrilloux John Oddo Tiny Frankenberg Tom Costa Sonny Calvagna Red Winslow John Chalmus Jim O'Hara Ralph Shur Whew ... I'm outta breadth ... and I missed so, so many more names of GREAT guys and gals from the GNYC corps ... maybe someone else can enrich the list ... :-)

Sounds like you've found your calling ... start one up and see where it goes ... :-)

Not that I'm aware of ... none in CT either ... Brooklyn United started one for Brooklyn icons ... heard of NJ, , PA, MA and MD ... several individual corps have their own ...

That was some lineup in Cleveland in 64 ... what a Championship month of Drum Corps with the VFW, WO, Dream Preview, Dream, World's Fair ... great era to be involved in DC ... :-)

Sad day indeed ... I had the privilege of teaching their drumline the 1st year leading up to the inaugural performance at the Barnum in 2004 ... PCP was an idea that was born on a Sept weekend reunion of the Bpt PAL Cadets in 2003 ... the brainchild mainly of Ken Fogerty (RIP), Dave Tichey, and a number of others ... you know how it goes ... "hey ... let's find some horns and drums and get the old gang together and we'll march in the Barnum parade and have a blast along the way ... yeah ... a one time gig to relive our yout ... " ... but ... something different happened this go around ... from the get-go it wasn't envisioned as a "PAL only" effort ... various organizational meetings were held and some top Drum Corps talent was recruited on the admin and instructional side of things ... names like Genero (RIP), Dorritie, Duquette (RIP), Rodia, Holleran, Mayer, Hlywa, Gallant, Banks (RIP), Findley, Palumbo, Warga, others and yours truly put together a plan and a good base of operations ... PCP was to march in the 2004 Barnum Festival and play two numbers ... PAL's You'll Never Walk Alone and St. Raphael's Taste of Honey ... two numbers ... one shot ... one and done followed by a BIG party at the show that night ... hmmm ... that didn't last long ... Once word got out it spread like wildfire ... the first "introduction" meeting was attended by around 50 ... then those 50 called a bunch of old friends ... radio slots and newspaper articles hit the media ... and ... as the farewell announcement stated, the first "signup" session was attended by 200+ people ... AND THEY NEVER LEFT! ... LOL ... there was just about ZERO attrition form day one moving forward ... someone has a list of the corps represented and it is truly mind boggling ... Anyway ... many people will have a void now on Thursday nights ... and I'll have lost a safe haven to visit every once in a while to share memories and hoist a few ... It really was a GREAT 12 year run ... let's APPLAUD them on a job well done ... Andy "PCP's first drum guy" Lisko

Marching and Maneuvering Drums Bugles GE Mus Ana M+M Drums Bugles E. Joyce C. Williams T. Colla D. Reynolds R. Olsen J. Whitlock B. Baggs L. Dlabay G. Barbaro J. Unrath

Jim ... if you go into watching the '67 shows based on someone else's pov, you're putting yourself at a deficit ... simply "watch" the shows the first time through and don't try to over-analyze ... then, after you're done, check out their placements and scores on www.corpsreps.com ... let's see how good you really are ... oh ... and be sure to watch for me in the snare line of the Bpt PAL on the CYO tape ... :-)

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