Cache_Money

Exactly. 2002 Cavies was the first time I can remember hearing a drum corps that sounded like a professional concert brass ensemble.

Give this man a medal. Placements don't matter. Spreads matter.

Add me to the "loved Crown the last few years -- want to love them this year" group. I don't mind the counting. It works. But the John part...do you love me...ok...i can bear it...but then the "how much do you love me" pushes me over the edge. Nope. Nope. No. No. Nope.

http://www.youtube.com/watch?feature=player_embedded&v=RvqdaKJy_oI This sucks.

Yes, unnecessary. A relic of the tick system. Scores should be based on what is discernible from the stands.

Good question. I don't know. And it would be interesting to see the breakdown of expenses and revenue sources and how it's changed over time.

"Failed business structure"? It's no different now than it's been since DCI was formed. It's just that it's gotten more expensive (due in part to all the new toys). The sources of revenue are show tickets, member fees, sponsorships and any little sidelines (like bingo) that corps can run. Are there other revenue sources out there ripe for the taking? DCI would love to hear your ideas. But to merely say "you need to be profitable" or to "find a better business model" is not helpful at all.

There are so many problems with your argument...where to start... You do realize that it's very difficult to start a new business and become profitable, yes? There are thousands upon thousands of people in this country killing themselves to try to do just that. You suggest that if you want to start a drum corps, first you come up with a profitable business, then you profit, then you take those profits and spend them on your corps. It sounds like the other argument you see from time to time, that corps would be would be better off financially if they changed to "for profit" entities...money would start rolling in.... 1. Declare yourself as "for profit" 2. ????? 3. PROFIT!

Lighting?? Ughh. Next: laser lights, fog machines, prerecorded music, electronic field instruments

This is the key to the whole shebang. The fans that have an issue with the show are not upset that the Devils are putting on this kind of show. They're upset that it's winning.

Why does everyone think that national touring killed local corps? Why not the opposite? Fewer local corps --> need to travel farther for competition The reasons for the decline in local corps are many, and have have discussed at length on DCP. I don't think the rise of national touring was one of the primary factors.

In my opinion, all of those who think DCI can survive by downscaling (less touring, more regional focus, cheaper instruments, lower fees, etc.) are wrong. The local model will not work today. High school bands have taken the place of local corps, and there's too many other activities to compete with. DCI can only thrive by offering something high school bands cannot: the touring experience, and performing with, competing against and learning from the top marching music talent in the country. Yes, this model leads to a smaller number of super-corps (as opposed to a larger number of very good corps), but this is the only viable path for the future, I believe.

Members marching their ##### off all over the field while still playing incredible music. And I'm tempted to say that their Brass is the best ever. They bring the volume like I remember old school corps doing, but with great tone quality. Love, love, love this show. Blue Devils definitely have a lot of cool (no, make that amazing) stuff going on in their show. But too much narration for my tastes, and the show overall feels like a bunch of different sets slapped together. Hope Crown wins.

Not sure if it was clear, but I was being sarcastic, trying to show how silly it is to get our panties in a bind over "band" vs. "corps."

that it WASN'T A BAND AT ALL!!!!! It was a string orchestra, or octet if you prefer. (Supposedly, it was composed of a string trio and a string quartet (plus the leader) that performed throughout different parts of the ship, and performed together for the first -- and last -- time as the ship went down.) Make sure you argue this with anyone who ever refers to the Titanic "band." I'm sure that whomever you are lecturing will appreciate being educated on the finer points of musical ensemble nomenclature.

It's worth mentioning that the music for which the tubas are being stolen is called bando.

It's easy as 1-2-3: 1. Change corps from 'non-profit' status to 'profit' 2. ???? 3. PROFIT

Three points: 1) Brasso's comments about (a) visual and (b) BD's need to stay true to its commitment to winning are both brilliantly on point. 2) It's the Cavaliers fault (said partly in jest). I think the Devils got spooked by Cavies dominance in the early 2000s with visual-driven programs and decided to recalibrate their approach. 3) I was listening to Buddy Rich Band's Channel One Suite recently and I forgot how closely BD's arrangement followed the original Buddy/Bill Reddie chart. Like note-for-note close. Can't imagine them doing that today.

Love the Mackey and Whiteacre pieces. And I never could get tired of Mars (and to a lesser extent, Jupiter), even if it were part of a DCI corps' rep every year. Question: what rights do the composers typically retain over the arrangement when they grant rights to a corps? What happens if Mackey or Whiteacre hates what SCV does with their composition? Are the composers' rights standardized, or are they negotiated on a case-by-case basis? Even if the composers don't have any rights over the corps' product, do the corps include the composers in the process at all and try to respect their wishes?

Hear, hear. BTW, in the quote in your sig, does the "it" refer to A&E?

This statement makes no sense. Why does DCI even have FN then? Why put out DVDs? You really think that watching a show on vid "doesn't really help to see what is going on" in that show?

I hope not. If you're correct, it's just a continuation of the trend of shifting the focus away from the performers on the field and towards the designers.

I don't understand this. Could you provide an example?

This could be possibly the worst argument for A&E I've ever heard. And coming from a brass player??? :facepalm:

That reminds me of a question I had: why are pits still so ginormous? I recall one of the arguments for amplifying the pit was that it has a waste to have numerous mallet players doubling the same part so that it could be heard (as well as forcing them to pound rather than play with "proper" technique).