Jeffe77
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Posts posted by Jeffe77
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This season has to be remembered for the lottery draw for order of appearance. I recall hearing from VK vets from that season how disappointed they were that they had to perform 1st even though they were ranked 7th.
Bloo and VK are fun shows.
Scouts strength is in the closer.
BD and SCV had the more balanced shows. SCV has such emotion and I feel BD should have won.
Looking back, I wonder if people were thinking if the Cavies may become contenders.
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On 4/30/2020 at 11:29 AM, jwillis35 said:
With Star of Indiana leaving the activity for Brass Theater (and eventually Blast!), the Blue Devils were smart to pick-up one of Star's top visual instructors, Todd Ryan. Todd is a former Madison Scout who had been working with Star of Indiana. He helped to bring their marching technique to the top of the activity. This is what he did for the Blue Devils beginning in 1994. ...... Cadets actually won field percussion on Finals night but I think BD still got the drum trophy for the 3-day Finals scores.
This in my opinion encapsulates why the Blue Devils won. Todd Ryan and Scott Johnson, addressing the issues that held back BD from becoming contenders in DCI since 1988.
In 1988 BD was 3rd and some say should have won that year, then they placed 4th very year since with the exception of 91 when they placed 5th as they took High Brass with Star.
Bottom line, BD's percussion program took a hit when ScoJo (BD Battery Tech 77-89) left for SCV and Tom Float walked early in 1991 and wasn't until ScoJo came back in 94 that he and his staff restored BD percussion back to prominence.
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1993 will always have a special place for me as this was my first exposure to drum corps. Back then I was 16, jr. in High School. Back then, John DeNovi (current DCI Marketing Exec) was our marching instructor, and he brought in VHS tape of the PBS broadcast during band camp and played the Cadets 93 show. My jaw dropped. How can they march so fast? Being a tenor player, you can imagine how jarring witnessing tenor playing at it's highest level, 2 mallets per hand feature as an example. He then said that PBS was replaying the broadcast that following Sunday morning. So of course I got up early, got a blank VHS, press record and watched.
I posted a YT playlist of another user who uploaded the broadcast version of DCI Finals in 1993.My first impression was the Intro, it was B-Roll of the Cadets sweating with a Curt Cowdy voice over talking about the "the fire that burns inside", basically, DCI's version of the "frozen tundra" line in NFL flims. Then followed by the intro to the Scouts, treating the broadcast like a sporting event, as a young impressionable sports fan, it got me.
Quick Impressions
Madison Scouts:- Performing in Heavy Rain
- The energy from the crowd
- Screaming Soprano Solos in Strawberry Soup
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Keep in mind, the biggest drumline I ever seen in competitions up to that point would be 5 snares, 3 tenors and 5 basses,
and here you have Scouts with 10 Snares, 5 Tenors, 6 Basses, 9 Cymbals, so yeah, that caught my attention. -
The Drum Feature, especially the snare-tom feature
Blue Devils
- The Hornline!
- That cat in the goatee can play
- You can march in 13/8?! lol
- Quite a few drops from the guard, but understandable with the rain
- Love the different Soloist and Brass Ensembles
Cavaliers
- Solid Show
- Oh my, a lot of falls
- Very cool drum feature
Phantom Regiment
- Forever (even though I'm a SCV supporter) I root for Phantom Regiment because of this show
- Love the show
- The pit is in the middle of the field!?!
- Unique percussion arrangement
- The whole Corps did what?!?! (crabwalk)
- The ballad, one of my favorites of all time The Fire of Eternal Glory
- Helmets on the field as a formation during the ballad
- What a way to close out the show
- The crowd ate up the show
Star of Indiana
Please note that I regard this show as one of the best of all time and once I listen to the source music in college, I quickly realized the brilliance of the show, and also realized the brilliance of the arrangements from Prime and Hannum. This show is a work of art, period!
(My confession - I had a bad impression of this show as a 16 year old caveboy. The thoughts below were my initial impressions)- As young, immature musician, this show was over my head
- Why no costume for the guard? Just black leotards?
- Why is the corps doing body movement?
- Weird music
- "Finish it, take it home!!"
- Wow the corps is hyped at the end of the show
- I thought they were the Star of Indiana 😂
The Cadets (of Bergen County)
- Ah, this is more like it
- Man they are moving fast
- Jesus Christ Quads!
- Even I knew the snare line bleeped the bed at the end of the snare feature.
- Awesome ballad
- Great Show
Well, below is the broadcast. Enjoy!
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On 4/29/2020 at 9:47 PM, Jeffe77 said:
star of indiana - recollections
by Bill Cook - Founder, Star of Indiana THE SUMMER OF 1993, THE YEAR OF THE B###H
Originally Written: Sept. 23, 1995
Revised: Nov. 17, 1996, Mar. 12, 1999, & January 2, 2001
The "Medea" show was music by Bartok and Barber. Again, Jim decided to experiment with body motion executed by the entire ensemble. He asked the visual people to design a stark show which would be portrayed by contrasting colors and shapes--triangles and straight poles. The 1989 uniforms were replaced with a cream and black uniform. He did not want visuals to detract from the drill or body sculpting; the music was to be arranged to enrage and anger. It was not supposed to be sweet and lilting. Suffice it to say, the audience responded properly but the raw discordant sound grated on me at the beginning of the season--I was irritated after each performance. When the show was finished, it was beautiful to watch. And today, the 1993 show stands out for me as my favorite. The drill intensity, blatant bursts on the horns and discordant percussion were intriguing . I'm probably nuts but I actually enjoyed getting irritated--Medea was truly a #####. Our final score was 97.3 for second behind the Cadets with a 97.4.Retrospect, 1993 I'm often asked and I'm sure the members are asked: "Didn't you think that you should have won?" Hey, I think that Star should always win but that is not the way life is played. The beautiful part of drum corps is that there can only be one champion and in 1993 it was the Cadets. Now, what about the members? Were they disappointed? Come on--sure they were. But after a few tears were shed, most of them headed for supper and a few of them were looking for rides back to school.
Like many other corps, we were all glad to leave Jackson--it was hot, it was humid, and it rained! Championship week for Jim and me was bittersweet. The week was exciting and had the best of what drum and bugle corps has to offer. Our future was already charted; we would go with the Canadian Brass--win or lose. When we came back to Bloomington, we announced at our annual banquet that Star would be leaving drum corps, would be playing on b-flat horns, and would be performing "Brass Theater."
It seemed like 1985 again when Jim "sold hot air." He described "Brass Theater" to the members, and then he casually mentioned that they would have to prepare for two types of shows, one performed on a small stage and one performed on a basketball floor. He explained that the repertoire would exceed two hours in length, that percussion and brass ensembles would be featured during various parts of the show. When he finished, I felt warm and fuzzy but I'm not exactly sure how the corps felt except confused. After this meeting, I have been asked what the corps members thought and I can only answer--anxious but understanding.
Star's association with the Canadian Brass in 1993 was the year of Star's swan song. In the early spring, Star, Glassmen, Chicago Vanguard, and Pioneers gave a stand still performance at Indiana University's Auditorium in Bloomington. The night before, all of the corps attended a performance of the Canadian Brass ensemble; the auditorium was filled and the crowd received them with the enthusiasm of brass music lovers. That evening, Jim and I had been invited to a reception for the five CB which was hosted by Harvey Phillips, Dr. Tuba Santa. During a conversation, Chuck Dahlenbach of CB asked us if he and two other CBers could stay over and watch our drum corps show on Sunday afternoon. He didn't need to ask; we would have begged him to do it. In any event, they attended the performance, and afterward Chuck broached the subject of how Star could participate with them. The following Monday Chuck called to ask if some of Star's percussionists could play on their 'Broadway' CD. During the time of the recording, ideas started to develop; several weeks later, we met Chuck and Gene Watts in Florida and began discussions on how we could perform together. At the time, I did not believe that the corps could learn two hours of music and play it with the precision necessary to satisfy audiences that had very high expectations. But Jim, Gene, and Chuck thought otherwise. In June we signed a letter of intent which resulted in a contract that was signed in September.
We thought that our members deserved a chance to perform at some of the best venues in the world, to try to reach a level of excellence that is uncommon for young people and to be a part of a new genre. The program had to be two hours in length with twenty two minutes of drill plus solo features for both brass and percussion little did we realize what a challenge this was going to be.
I think it deserves a bump, interesting perspective, especially about Star's exit from DCI.
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DCI High Percussion Winner
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star of indiana - recollections
by Bill Cook - Founder, Star of Indiana THE SUMMER OF 1993, THE YEAR OF THE B###H
Originally Written: Sept. 23, 1995
Revised: Nov. 17, 1996, Mar. 12, 1999, & January 2, 2001
The "Medea" show was music by Bartok and Barber. Again, Jim decided to experiment with body motion executed by the entire ensemble. He asked the visual people to design a stark show which would be portrayed by contrasting colors and shapes--triangles and straight poles. The 1989 uniforms were replaced with a cream and black uniform. He did not want visuals to detract from the drill or body sculpting; the music was to be arranged to enrage and anger. It was not supposed to be sweet and lilting. Suffice it to say, the audience responded properly but the raw discordant sound grated on me at the beginning of the season--I was irritated after each performance. When the show was finished, it was beautiful to watch. And today, the 1993 show stands out for me as my favorite. The drill intensity, blatant bursts on the horns and discordant percussion were intriguing . I'm probably nuts but I actually enjoyed getting irritated--Medea was truly a #####. Our final score was 97.3 for second behind the Cadets with a 97.4.Retrospect, 1993 I'm often asked and I'm sure the members are asked: "Didn't you think that you should have won?" Hey, I think that Star should always win but that is not the way life is played. The beautiful part of drum corps is that there can only be one champion and in 1993 it was the Cadets. Now, what about the members? Were they disappointed? Come on--sure they were. But after a few tears were shed, most of them headed for supper and a few of them were looking for rides back to school.
Like many other corps, we were all glad to leave Jackson--it was hot, it was humid, and it rained! Championship week for Jim and me was bittersweet. The week was exciting and had the best of what drum and bugle corps has to offer. Our future was already charted; we would go with the Canadian Brass--win or lose. When we came back to Bloomington, we announced at our annual banquet that Star would be leaving drum corps, would be playing on b-flat horns, and would be performing "Brass Theater."
It seemed like 1985 again when Jim "sold hot air." He described "Brass Theater" to the members, and then he casually mentioned that they would have to prepare for two types of shows, one performed on a small stage and one performed on a basketball floor. He explained that the repertoire would exceed two hours in length, that percussion and brass ensembles would be featured during various parts of the show. When he finished, I felt warm and fuzzy but I'm not exactly sure how the corps felt except confused. After this meeting, I have been asked what the corps members thought and I can only answer--anxious but understanding.
Star's association with the Canadian Brass in 1993 was the year of Star's swan song. In the early spring, Star, Glassmen, Chicago Vanguard, and Pioneers gave a stand still performance at Indiana University's Auditorium in Bloomington. The night before, all of the corps attended a performance of the Canadian Brass ensemble; the auditorium was filled and the crowd received them with the enthusiasm of brass music lovers. That evening, Jim and I had been invited to a reception for the five CB which was hosted by Harvey Phillips, Dr. Tuba Santa. During a conversation, Chuck Dahlenbach of CB asked us if he and two other CBers could stay over and watch our drum corps show on Sunday afternoon. He didn't need to ask; we would have begged him to do it. In any event, they attended the performance, and afterward Chuck broached the subject of how Star could participate with them. The following Monday Chuck called to ask if some of Star's percussionists could play on their 'Broadway' CD. During the time of the recording, ideas started to develop; several weeks later, we met Chuck and Gene Watts in Florida and began discussions on how we could perform together. At the time, I did not believe that the corps could learn two hours of music and play it with the precision necessary to satisfy audiences that had very high expectations. But Jim, Gene, and Chuck thought otherwise. In June we signed a letter of intent which resulted in a contract that was signed in September.
We thought that our members deserved a chance to perform at some of the best venues in the world, to try to reach a level of excellence that is uncommon for young people and to be a part of a new genre. The program had to be two hours in length with twenty two minutes of drill plus solo features for both brass and percussion little did we realize what a challenge this was going to be.
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22 hours ago, mingusmonk said:
They didn't use mylar in 93.
Really!?! I always thought did they based on sound and judge's tape as well, must have been the tuning.
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2 minutes ago, Jeff Ream said:
mylar!!
Absolutely! Interesting note, they were the last drumline to win high percussion with mylar (1993)
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1992 - Cavaliers Field Percussion Judge - Enjoy.
By the way: Timpanist - Rell Lafargue (91-93) was incredible. -
On 4/26/2020 at 9:06 PM, Jeff Ream said:
i went back and rewatched today. Stars drumline in 92 does not get nearly enough love.
Agreed, very underrated. That season, Star marched 9 snares, ended up being the biggest snare line in Star's history.
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star of indiana - recollections
by Bill Cook - Founder, Star of Indiana THE SUMMER OF 1991
Originally Written: Sept. 23, 1995
Revised: Nov. 17, 1996, Mar. 12, 1999, & January 2, 2001
Everyone in the corps began to believe that this was their year. It was amazing to me to see these young people go out and perform Jim Prime's "Roman Images, the music of Respighi." And for George Zingali, it was his life wrapped up on the field; his images of Christianity were woven throughout the pictures which came and went as Star executed for him. Our members knew that George was dying and they knew that they wanted to give him a monument, a memorial in life.As sick as he was, he was the backbone and spirit of the corps. He was driven by desire that few will ever understand and his will went out to touch us all. On August 4th, Star arrived in Boston. With the help of his care giver, George arrived at the stadium to meet his corps. Something happened to him that afternoon--he seemed transformed, energized. His strength had returned--it was the "old" George on the field that day--"You've got to be shittin me!" "That's wonderful!" "Cupcake, you were terrible!"
Late in the afternoon, he told Jim--"the new closer is not right." A few minutes later, he left the stadium. None of us knew where he had gone or if he would be back.. About eight o'clock, George returned and said: "we are going to have two crosses at the finish instead of one." The next five hours were unbelievable. He ran from one section to another telling members where they should be at the end of the final cross. He wanted them to count measures--"count and run around until time to make your final set." Hour after hour, the corps tried and failed but finally, at 2 a.m. the next morning, the cross was seen. The next night in Lynn, Star put in the new move; needless to say, there were more than a few wrecks at the end but we won over SCV by 1.9 points.
Star's greatest performance that year was not at finals but in Little Rock Arkansas on August 12. Most of the staff had gone ahead to Dallas, so the corps was on their own and relaxed. What they did that night will always be a memory for me. To this day, that performance remains my favorite while they competed. The word electric fits it best.
The championship week was anti-climatic because the corps knew what had to be done and were confident that they could do it. Even though they were expected to win, they were focused, relaxed, and determined.
In retrospect, I wish that the field had been cooler (it was 124 degrees) and I wish that they could have moved a little more slowly because I wanted to hear the sound that I heard that cool night in Little Rock. We became champions of DCI for the first time with a score of 97.30. A truly magical year for a corps that once wore a pink uniform and were branded as a rich man's toy.
GEORGE
That winter George Zingali passed away, but in the hospital he said: "Bill, the championship was the most wonderful night of my life." George still remains a part of the fabric of Star and I know that other corps cherish his memory as well. What more can be said of George except he lived to create, inspire and teach.I would like to digress a moment and talk about what it takes to win a championship. First, a corps must have experience, a work ethic that goes beyond saying "I worked hard" because working hard on the wrong things will eventually ruin a corps hope for success.
I believe that staffs win championships. A corps director must instinctively know where to place the emphasis and the staff must have a music and drill book that is sufficiently difficult. A championship book must appear to be seamless--it must flow and the members must be sufficiently accomplished to make their actions appear easy. If the spectators perceive the work as being easy but executed to perfection, then the staff has done its job and the corps has learned their lessons well. Physical conditioning also is an integral part of the success formula--every member must be able to finish.
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star of indiana - recollections
by Bill Cook - Founder, Star of Indiana THE SUMMER OF 1992
Originally Written: Sept. 23, 1995
Revised: Nov. 17, 1996, Mar. 12, 1999, & January 2, 2001
Jim and the staff wanted to try to make Star more accessible to the public. They were ready to go back into time and perform a book that would hopefully be identifiable. And so "American Variations" was designed. Jim wanted to experiment with a form of visual that utilized body motion, executed by the entire ensemble. This experiment was tried in only one number, "Amber Waves" and it appeared that motion had a favorable impact on the audience.To the folks seeing the show for the first time, body sculpting appeared be a gimmick, but as the year wore on we knew that visual body movement should be explored further. It had to wait until 1993.
Star folk loved this show; it was beautiful and many fans identified with it. The last week, a giant scrim was thrown up; a 40 feet high by 60 feet wide Lady Liberty covered the front of the entire corps. It was a great visual but not one that was universally accepted (said with a grin.) We ended our season with a third in Madison with a score of 96.7 behind the Cadets of Bergen County and the new champions, the Cavaliers who had a score of 97.5.
JIM MASON'S PSYCHE IN 1992
For Jim, 1992 was a pivotal year because the show was designed for a broad audience appeal and the result was a hostile crowd. At that time, he decided to explore different directions. His frustrations led him to the 1993 Medea program because he wanted to give the organization a vehicle where they would be in control of their performance from beginning to end.Looking back at Medea, there were no opportunities for the audience to react until the show was over. This concept made some of the audience uncomfortable and created even more controversy. I guess that was Jim's vengeance. Also at that time, he began to contemplate doing something other than drum corps with the Star of Indiana. Perhaps the seed of Brass Theater was planted during this period.
WESLEY
Another friend and staff member left this life in 1992--Wesley Johnson. His easy smile, beautiful agility, and his love of teaching will be remembered by all of us who were privileged to know him.THE PBS TELEVISION BROADCAST
On the morning of the 1985 championship, I met Don Pesceone, Executive Director of DCI, and he asked if our company would be interested in sponsoring the championship telecast in 1986. I answered that we would be interested.From 1986 through 1992, our company was either a co-sponsor or sponsor of the championship telecast. Since there was no one with television experience at DCI, Don later asked if I would produce it and I accepted the job of Executive Producer. I remained Executive Producer until 1992, but our sponsorship continued until DCI took over the responsibility in 1993. I'm very proud of these telecasts and had many intelligent people to rely upon. Tom Blair and Keith Klein are two indispensable individuals who taught me that excellence could exist in the production of a DCI championship. These are the men who made the DCI Championship a highlight for PBS. Steve Rondinaro, Michael Cesario, Charles Webb (Dean of IU School of Music), and Curt Goudy all gave freely of their time. Most of these men worked only for expenses which says much for people who are more dedicated to the activity than they are to self-interest. The television broadcast looked professional, was expensive to produce, and these men gave of themselves to make it happen. For the record, the broadcasting of the championship cost between $150,000 and $200,000 depending upon the year.
CONTRIBUTIONS TO DCI AND OTHER CORPS
From 1985 through 1993, Star, Jim Mason, Cook Group, and I tried to make a difference in drum corps. Jim, the staff, and I served on task forces both as members and advisors to DCI. Jim was the official member of DCI and I served as an advisor from 1987 through 1992.When we left DCI, Star or the Cook Group had contributed over $1.5 million to DCI and to other corps. Star sponsored all four DCM All Star appearances at the New Year's Cotton Bowl, Orange Bowl, and Fiesta Bowls (twice) in addition to the first Macy's Thanksgiving parade appearance of the DCM/DCE All-Stars; the appearance of Phil Driscoll at the Kansas City World Championship who played the "Star Spangled Banner," trumpet solo; the appearance of DCA's Steel City Ambassadors at the 1990 World Championships in Buffalo. Jim headed the All-Star drum and bugle corps that played two "Star Spangled Banner" renditions in both Madison and Kansas City. (These corps consisted of 1200 and 1500 members respectively. The first one was under the direction of Pepe Nataro, a friend who is gone.)
Corps that have received either prizes, grants or loans from either Star or Cook Group are: Colts, Troopers, Phantom Regiment, Magic of Orlando, 27th Lancers, Crossmen, Velvet Knights, Spirit of Atlanta, and eleven other organizations. The amounts ranged from a minimum of $1,000 to $150,000. In addition, Rick Snapp, a Cook computer manager, and I wrote the financial, sales order, and championship ticketing programs that DCI has used since 1990. DCI's three computers were given to DCI by Star. Cook Group Companies sponsored and produced the DCI World Championships for five years.
Star founded on behalf of DCI the DCI Foundation which still maintains an office in Bloomington and administers such scholarships as those given in the names of the Americanos, George Zingali and others.
Employees of Cook Group and a large contingent of former corps members from all DCI corps staffed the hospitality tables stationed in five to seven hotels through the various championship cities. For all of us drum corps was not just Star, it was the entire activity. Yes, this information has not been discussed until now, but Star members and their friends deserve this explanation. If there must be an epitaph for Star, for Jim, for me, and for Cook Group, it should be -- we tried!
A Personal philosophy I believe that all humans are to some degree competitive, moody, happy, sad, angry, tranquil, and cooperative. The Drum corps experience is guided by association with many different personalities who have joined together in an attempt to achieve and possess the above traits to a greater or lesser degree. I believe that drum corps organizations can only point the route but not predict the destination.
I try never to fear change, I enjoy risking the unknown, and I try to seek guidance through previous experand instead of 'Ready, aim, fire!," it may be better to "Ready, fire, aim!" I believe that a human should be prepared (ready) to act, then act (fire), and finally analyze what was done (aim.) Instinct exists in all of us but so often we fear the unknown to the extent that we are incapable of action.
I ask readers: "do we always need to analyze and discuss before acting or should we learn how to react based upon circumstances and cumulative history of the past?" (Invention is based upon instinct and then trial but status-quo is based upon copying.) I believe that if one goal is reached, there should be another goal waiting. If failure results, try again and again. You have all heard this before but "do you believe it?"
A personal perspective on drum corps I believe Star and other corps members strive to be better humans as a result of their drum corps experience. I believe that Star and other corps members are products of many points of view and they are surrounded by teachers and people who care about them. Within their organizations, they are respected for what they are--young people seeking their way in life. In return, they are loyal and very proud of what they have accomplished.
I believe that Star and other corps teach pride in personal accomplishment which is achieved by honesty and work.
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16 hours ago, mfrontz said:
Great comments from most.
1992 Blue Devils was an awesome show. Thanks to them, Cuban Fire by Stan Kenton is one of my go-to albums when I need something to listen to.
I still get nostalgic when hearing the opening hit from Cadets, because so often that was what I heard just before or just after going on the field
A few personal remembrances from 92, which I haven't shared in the eighteen years of posting on Drum Corps Planet:
Playing the closer 'Under the Sun' for the first time, in a gym in Philadelphia. A staff member said after we finished, 'That's going to be what they're talking about in Madison.'
Warming up for a pre-season DCA show in Jersey City, with the lights of Manhattan big as life in the hornline's field of view.
The absolute worst rehearsal field ever in Newark, Delaware.
Being in Canada and doing a show in Montreal.
The early mornings on the field-lining crew, and having to make a can of white spray-paint last.
The afternoon after a disappointing finish at DCI North when Shorty told us that if we did the work, we would beat Blue Knights, Vanguard and Phantom by finals. It happened.
Staff quotes: 'So you think you're hot #### because you beat the (insert corps name here)?' and
'If you #### the bed tonight, I will kill you.' (repeated for emphasis)
In the stands at Vanderbilt Stadium (Preview of Champions) after our show, and suddenly Vanguard color guard women come up the stairs into the stadium. I remember thinking: So this is why they sing about California Girls.
The roar of the crowd at DCI East finals.
Beating the Vanguard for the first time. It was a drum major only retreat, and I was on a walkway under the stadium when we heard the score announcement. The assistant director was near me and gave me a huge hug, and she said: 'I just wish Carl were here' (director Carl Ruocco was not with the corps that night). At the time I didn't quite understand what a big deal this was. The next day we were told that it was ten years to the day that the Garfield Cadets first beat the Santa Clara Vanguard.
Pittsfield, Massachusetts: Celebrating a win in both brass and percussion with our staff as the Cadets of Bergen County played a victory concert in the background.
The incredible color of the sunset behind Camp Randall as we approached the stadium for finals. (For some reason, I have no memory of how cold it was.)
A drumline member proposing to a color guard member after our finals show.
The surprise and absolute thrill when we topped not only Vanguard, but Phantom at finals, and the absolutely deafening roar of the crowd when Star was announced in third. The videos do not register how loud it was.
Question - What happen to the guard member who was on a cast finals night?
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I concur with others, 1992 is one of my favorite seasons in DCI. I went to High School in Anaheim, Ca and 3 of our own (all incoming seniors) marched with VK, including the the great James Goodrich who played the "opera singer", so we had a vested interest in VK and man did they deliver.
Broadcast:
Madison Scouts were entertaining as well, love the way they kicked off the show with sop solos. The drumline brought with the most iconic moments towards the end of their drum feature with so much love from the alums.
The Blue Devils - The dice and soultry hornline. Funny how Vern Johnson in the tenorline kicks off a small dance ditty with the Bell Biv Devoe's "Poison" drum motif while the hornline strips off their uniform jackets to set up "When a Man Loves a Woman"
The Cadets
What impress me about the show was the drill, cologuard and mellophone line. Cool to see that airplane formation.
Star of Indiana
For whatever reason, the first viewing of the show was not memorable, subsequent viewings got me to appreciate the show. Especially the hornline of course.
The Cavaliers
One of those shows that was destine to win a championship. That opener, good God!! The visual, just amazing. The percussion program, especially the front ensemble was fire. What a remarkable show.
VK - What fun show and first time I noticed a corps causing the audience to laugh. The shark, enough said.
Blue Knights (9th) - Can't go wrong with Copland
Phantom Regiment (8th) - Was slotted 6th going into finals and let's be honest, not their best performance. The battery not so clean. Heck of a repertoire. Got to love David St Angel flipping off the judges during the retreat when PR was announced 8th, lol (3:15 mark of the video - vid should start there btw)
Santa Clara Vanguard (7th) - Fiddler and that drumline was sick
Crossmen (6th) - What can you say, wow. What a show. Appalachian Morning, piece in 5/4 was impressive, but the star of this show was no question Rainforest and that drumline was grooving. Goosebumps.-
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1 hour ago, ykw said:
It's time to accept the reality of the inevitable; the transmission of the virus will continue for a while.
What could a corps director do if a staff member or performer tests positive while on tour? They'd have to quarantine everyone for 2 weeks.
WGI has already to agreed to give age-outs another season. DCI should do the same.
I agree that the 2021 will be strong; can you imagine how competitive the season will be with this much time to prepare?
Agreed, and I have to assume the eligibility extension will only be for those that have a contract with a corps for 2020 and for the corps that were under contract. I know some others here have been critical about it That said, these are extraordinary times and the talent pool expands for the other non contending corps, thus making it more competitive. Also the NCAA has offered the same as well as WGI. It will happen whether you like it or not.
While it sucks, we are not the only ones missing out, ask anyone who loves college basketball, it will be better in the long run for all involved.
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1 hour ago, Poppycock said:
Absolutely! There will be consequences
I guess DCI will have to limit to only those that miss out this season, and here is the thing, may not be a big deal as a good chunk won't partake as they will most likely have moved on to their full time work, etc. A good example is this cat who decided to march Pulse Percussion as Rook Out, then this happen and he was heartbroken, I advised about the WGI policy and his response was, (paraphrasing) "I wish I could, but I have a full time job waiting for me after I graduate this year."
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12 minutes ago, skevinp said:
If they do, will they increase the size limits accordingly? Otherwise it prevents younger people from moving into those positions.
Or other corps will benefit from added talent pool.
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28 minutes ago, Dpsouthern81 said:
Well done WGI, DCI may do the same if they cancel.
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For a second I thought it was Chidi from the Good Place.
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It's a reasonable question and discussion. When one auditions and/or becomes a member of a corps, its for certain reasons. I have to imagine with Madison and the Cavies, one of the reasons to join is the allure is being part of an all male corps, the "brotherhood". Same can be said for fraternities and sororities at Universities.
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I think we need to add a column for percussion arranger. Case in point, Dave Glyde writes the book and ScoJo is the Perc Cap Head for BD. Tom Rarick is the Perc arranger and Roger Carter is the Cap Head. Same for Brett Kuhn and Mike McIntosh for the Cavies in the early 2000's
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While I'm glad the any instrumentation proposal failed, it's a matter of time before it does after the instructors caucus passed it before the big vote today. My thought would be just pass it for OC class only while keeping the member limits. Then see what affects this will have.
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Cadets Live - Perc Roundtable (Hannum, ScoJo, Aungst, Beddis, Hardimon, Crosby, & McNutt)
in DCI World Class Corps Discussions
Posted
Amazing Zoom call, discussed shows, DCI history, technique, etc