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MiamiSun76

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Everything posted by MiamiSun76

  1. I believe Dennis Marta is still teaching the Archie alumni. Check their website for his e-mail address.
  2. How logical. How insightful. That man must be a fellow Seminole! ('73 History)
  3. Back to the real stuff, did anyone else notice the perfectly-timed "real" sirens outside the stadium during the Cavalier's fire sequence? Reminded me of an old St. Vincent's train tune (forgot which one) and a real train passing by the stadium blowing it's whistle at the perfect moment.
  4. It was one of my favorites. I was at the director's meeting and Tony didn't actually start by referring to Garfield. At the end, he said "and I don't want to see none of them GD peace signs on the flags again this year" (he was still fuming about Des Plaines' Hair show from 1969). In an attempt to pre-empt a problem at the show, Mahon, in his best Buck Henry style said "Tony, Garfield's FORMING a peace sign, but don't pay attention to the drill, listen to what we're playing. It's called White Rabbit and it's the junkie's song." With that, Hugh starts singing "one pill makes you larger and....." and rising slowly from his chair toward Schlecta. AJ looked briefly unnerved, then waved Hugh off with "OK Mahon, whatever. Go have your fun."
  5. I don't think you realize that you're doing more harm to Magic's image than a bad review of a rough performance. You're making the corps seem petty and thin-skinned. I grew up with some of their board members and I know that this is not how they want the corps' 1st show of 2005 remembered. Stephanie, I don't know what you'd gain from "reporting" this lady to DCP. Unless there's been some off-board dialogue, she's simply saying that she doesn't like your review. If this keeps up, I'd e-mail Neverman or Lee Shields and let them deal with it internally.
  6. I don't quite know who that comment was aimed at, but if it was the author of this review, it's inappropriate. This part of DCP is where those of us who observe a show get to give our impressions. Take them for whatever you will, it's the classic morning-after critic's commentary (an early scene from Mel Brooks' "History of the World" comes to mind). Unlike some, Lancerlady has a good grounding in this activity. I re-read her comments about your corps and it's basically what I said when one of your administrative folks asked "what did you think?" at the hot dog stand. I see no ill will or disregard for the members' hard work in any of the comments.
  7. You beat me to Bill Hayes in the book of Genesis. Going a bit farther down I-95; Bob Adair and Lee Wolf influenced folks like Ray Eiler and Larry Kerchner who have been followed by several from today's generation.
  8. In 1970, you stayed in Sunny Isles; several miles and many dollars away from the Fontanbleu, but at least on the beach. I was your local guide/gopher. Riding in the same wagon with Bobby Hoffman, Hugh Mahon, and George Tuthill for 4 days gave me a lifetime of hilarious memories. The Dolphin gig was courtesy of the late Dick Klund, Dolphin halftime co-ordinator, Miami Vanguards business manager, and a high-ranking PR guy for the Miami Hearld. Mahon had a great story about being DM at '60 Nationals in the OB, while he was recovering from some respiratory surgery. I'm sure it was miserable at the time, but he had a whole comedic routine about it.
  9. I'd vote for St. Catherine's Queensmen. Particularly if you're including individual achievements by people like John Sasso, Frank Dorritie, Billy Cobham, Bill Hightower.............
  10. With George, you never know bit the children I'm talking about were school-age when he wrote for Belleville in 78-79. I know sitting was always an issue when he'd come in on the weekends, and he couldn't leave until school was out on Friday afternoons.
  11. I was quite impressed with them when I visited April camp. (had to really resist the temptation to embarass myself by asking one of the kids to let me try one). Since Mike, et al are on the road, what's with the white uniforms? Are these the same as last year's "off-white", ecru, diagonal Glassmen or another new set? BTW, I'm re-living my youth through your kids until either my youngest daughter or oldest grand daughter is ready to take the plunge
  12. I was surprised to find out that George ghost-wrote Blessed Sacrament's "Eleanor Rigby" for Bobby Thompson. Even his most intense competitors respected his talent.
  13. Not remembering the gender of George's children after only 28 years. Shame on me. Must've been the Chunky chocolates.
  14. My 1st thought is why would anyone start bashing someone who has been departed for almost 4 years. I had the pleasure of working with George twice. Both were extremely trying circumstances and George came through like the professional he was (Chunky Bars and Stroh's Beer notwithstanding). I started trying to write about our experiences with Miami and Belleville, but those stories just don't equal the sum of the man. George was a veritable writing machine. During our two journeys together, he was also with Garfield and Hutch, respectively. Despite those major responsibilities, he was filling my mailbox with charts faster than I could teach them, and they were quality musical scores. I've dealt with the prima donnas of percussion often in this activity, but in George's own words he was "just a plumber". It's funny that this thread appeared when it did. I was in Kansas last week and thought a lot about George. I know he was doing his best to raise his two daughters as a single father, with an on-going domestic soap opera. Does anyone know what has become of his girls? Did they become active in drum corps? I hope they're well, and that they don't see the meanness that started this thread.
  15. Cliff was also band director at Miami Carol City High - my alma mater (OK, 10 years before he got there) and started out his DC career writing for the Miami Vanguards (OK, I'd aged out 3 years before).
  16. My 1st observation is that the ride from Baltimore to Allentown gets longer with age. While the slick toys on my new Maxima (particularly the audio-visual ones) are a gas, my arthritic joints are still suffering. OK, about the program. 2 disclaimers. I was involved with the poor but independent version of the Crossmen (I believe the late Congresswoman Shirley Chisholm's campaign theme: Unbought & Unbossed is applicable here) a zillion years ago. Also, I am one of YEA's most cynical observers and had a real conflict of conscience over plopping down the grand sum of $12 to that organization. Those things being said, it was a thoroughly enjoyable evening, notwithstanding the 1st year brass tech from Cadets standing next to me during their performance exuding the attitude that the performance was for HIM and singing/conducting each part. (I've been a staffer and I've come to realize that I owe a deep apology for similarly annoying paying customers 25 years ago). The most appealing segment for me was the Cadet's guard performance. This is the part of the activity that has progressed the most since The Day, and the Cadets have done more than just about anyone else. I apologize to those of my generation in their "no dancin' no prancin" shirts for liking it, but that was great ballet. For some useless reason, I was thinking the other day about the evolution of shows and how those of us from the '60s/'70s haven't done what our forefathers did: impose the music of their youth on us. We all played classics from the '40s/'50s because that's what our instructors grew up with. Then came the Crossmen. I realized last night that their shows the past couple of years have been FM radio staples from The Day. While the arrangements are in a wonderful jazz idiom which presents the opportunity for some great solo work, the chance for Cross to advance is still illusive. The kids did a super job with what they've been given, but they're still given a "statement" rather than a competitive show. For a competitive show, see the Cadets. It's hard for me to like them, but last night I liked them a lot. For some reason I've been irritated by their recent attempts to be accessable (see cynacism comment above). This show is simply the best since Stonehenge. The Cadets are at their best when I don't recognize a thing they are playing. I like to be introduced to new things and this year's show did that for me. It was also mid-season clean and I can't wait to see the visuals. The only part I'm anxious to see worked out is the whistling. In the concert setting with the amplified pit in, well...the pit, the horn players whistling was picked up naturally. How they're going to project it on the field will be interesting. I hope it doesn't become a distraction to this amazing show. OK, I said something good about YEA, now back to the Ben-Gay
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