marimbadude

What if it was done in the same style as this?

Does anyone know what the schedule is?

Jackson, MS was pretty terrible. Agreed that Madison was my best experience.

I just saw a revival of Sondheim's "The Company" on PBS where the actors also serve as the muscians (sample available on youtube) . Playing and acting are intertwined with each other?What does everyone think about a Blast-esque stage production of the same ilk? I'm thinking a production similar to "Letter From Home" ala Cadets 91 where the members actually told a story at the same time as playing. I know Blast does that to a degree, but I think of it more as a drum corps variety show.

I also marched there. Don't know if he remembers it or not, but trwiggin sat in front of me in 92!

BTW, I'd love to see 93 BD again and would be interested in seeing a modern treatment as well.

Is there any show you'd like to see performed again? Maybe just because you want to see it one more time? Maybe to see it performed with modern/better instruments, staff, players, etc. Or maybe to see another corps try it, etc.?

I'm from Shreveport. There is/was a huge contingency of people in PR that went to NSU and LSU in the 80s and 90s. Growing up, they were everyone's favorites. I've been away for around 10 years now so I'm not so sure if this is still true. A lot of fairly prominent instructors came from this lineage: Hurley, Prosperie, Wooton, Vasquez, etc. Also: http://www.louisianadrumcorps.org/index.html

I am arguing less the strict definition of plagerization (primarily because I'm not an IP attorney) and more this argument that this practice is/is not creative. How creative would it be if I took pieces of chapters of famous books and put all those pieces back together in a rearranged order? This whether or not I actually had rights to do so. Mind you, I'm just playing devil's advocate here.

For argument's sake, couldn't the same hold for any ensemble who dramatically re-arrange [original] pieces to suit their field show? Where only hints of the original are detectable? And I guess you could argue that the opposite might hold true as well?

I marched bass in the MB at the Univ. of Oklahoma.

I meant sharing of the corps' revenues, not DCI's, ala major league baseball.

Three things come to mind off the top of my head: 1. Revenue Sharing ala professional sports. Less to create parity among the corps and more to maintain the infrastructure itself in order to preserve the longevity of the activity. These monies can go to support DCI itself (see point no. 2) and to other member corps to help subsidize expenses. Yes, many will balk at the idea. 2. Give DCI audit authority and takeover powers to prevent corps from making decisions that could possibly jeopardize their solvency and subsequently jeopardizing DCI's solvency. 3. As someone else mentioned, rethink our institutional advancement (i.e., fund raising) efforts. Look to other successful organizations who consistently outpace their peers in gifts received, endowments whose earnings outpace the market, etc.

FWIW, BD did the same thing that year although I think it was a little less obvious. I think they switched sometime during the ballad. If memory serves correctly that was the first year for that size drum so my impression at the time was that Yamaha asked us to figure out a way to use them. I don't remember anyone specifically stating that, though.

Does anyone have a sense of what Fennell thought of corps as a vehicle to teach pure musicianship? He does not really speak to it focusing more on the discipline aspects of corps. In that regard (musicianship), I definitely agree with the OP and would love to know Fennell's opinions.