hallrc

I was in the Scouts in 2003 (backfield conductor, rook-out), and I am still surprised to read how much people enjoyed our show. Most of the crowds that summer, except for a hand-full of shows and and during DCI week, were somewhat tame. I guess everyone wanted to see what the corps would be like under a new administration, many new staff members, uniforms, large member turn-over, etc. I remember telling Jon Newcomb (the drum major in 03), after seeing Southwind's and the Bluecoats' shows in 2005 that I didn't think that our show would have become so popular (based mainly on the crowd's responses that season). We just looked at each other and grinned while they performed. Its very difficult to live up to such great shows as 75, 78, 81, 83, 88, 92, 95, 97, and 99 Madison Socuts. To see these corps perform some of the same pieces that we did was very flattering. My favorite performance from that year was in Michigan City, Indiana, which is one of the Cavaliers' home shows. I thought that the crowd would only respond for them. We had a really "electric" performance that night, and the crowd just exploded during and after our show. Its still one of my favorite show sites. (That was a really difficult day, btw. Everyone was really beat after rehearsal. Jose, one of the guard soloists, wasn't completely caught at the beginning of the final run-through, and fell after a fifteen-foot toss in the air. He stumbled to the back podium, and collapsed. I didn't know what to do: should I keep conducting, or go get him? Either one of the staff members or a guard member who wasn't spinning in that part of the show went to see about him. Later, one of the pit guys had a mishap, and one of the equipment trailer's beams fell on his head. It was just a bad day. I think that we all wanted to do our best during the show, but we really wanted to just get it over with and start over tomorrow.)

Scott Chandler, their guard caption head/designer, is also their program coordinator. So, I'm sure that much of their overall design and concepts are based on his ideas (as well as other staff members). I think that their 2005 show was based on a winter guard show that he put together a few years ago.

I also liked the black Oxfords that they wore. Is it possible to create a marching shoe with the comfort and support of MTX's, but with a more formal look?

As everyone has stated, I think that it depends on your child, especially their maturity level, ablity to handle stressful situations, etc. You know your son/daughter better than they know themselves, and know what they can handle and how well they handle situations (God, how many times did hear that growing up?). I was a true rook-out (meaning I had never officially marched corps--although I auditioned with a couple of corps a few years before I actually marched), and had just finished my fourth year of college. The year that I marched the corps was mostly composed of high-school-aged guys, recent high school grads, and rook-outs. So, I actually felt closer to some of the staff members and older corps members than, say, some of the vets who were seventeen or eighteen years of age. I say this because it helps to know the age demographics (so to speak) of the corps that your child wants to march. Granted, if you visit this web site regularly, you are probably famliar with the activity, general issues going on with the corps that your daughter or son wishes to audition, and so forth. I've known about drum corps since 1988, and have regularly followed the activity in 1993 via PBS broadcasts, videos/DVD's, internet, and drum corps media publications. That said, it still did not fully prepare me for the rigors of tour life. I remember my mother asking me when I auditioned the first time, "Are you sure that you want to do this?" She had marched with the Belleville Black Knights in the mid-1970's, and knew first-hand just how hard drum corps can be. She knew me well, and knew that I would probably have trouble adjusting to the somewhat spartan lifestyle associated with the activity. Some of my main problems were with logistical issues off of the field (i.e. time crunches after rehearsal), lack of privacy (i.e. showering with 134 other guys plus staff), silliness on the bus, and just trying to enjoy my time with the corps before everything ended on Finals night. I have a tendency to be a perfectionist with a one-track mind. I hate being rushed, because I normally mess up. I can also be pretty serious-natured, so I had a heck of a time adjusting to some of the horseplay that occurred. By the time I really began to adjust to tour, the season was over! So, you could use this as an argument in favor of younger people marching drum corps, in that it gives them more time to fully adjust to the lifestyle. But, I feel that I joined at the right time. I was able to act as a "big brother" to a couple of the younger members. Also, as difficult as it was adjusting to everything, and dealing with the fact that I could never go back and perform in a junior drum corps again, I know that I would have missed out on a lot of things had I participated sooner. My mother passed away from cancer two years before I marched. I am so grateful for all of the time that I had with her and my family before she died. I had the time of my life in college, made many strong friendships that still last, and had the opportunity to pursue internships and published research opportunities that greatly helped me in my academic work (and possibly in future academic endeavors). My parents taught me that school was a top priority, so I knew that I would have to table my dream for a while (especially since I graduated from a very expensive university, and my scholarship depended on me keeping my grades up). I hope that this helps you decide what to do regarding your child. It may or may not have been the answer that you are looking for, but I hope that it sheds light on a different perspective. Side-Note: If anyone is a recent rook-out, and still has a taste for drum corps, you could apply for an internship. It will really educate you on the administrative and instructional side of drum corps (and possibly the musical/visual designing process!).

My mother and uncle both marched in the Belleville Black Knights in the mid 1970's (mom on flag, uncle on cymbals/bass/tenors). I marched Madison Scouts in 2003 (rook-out, backfield/assistant conductor).

I spoke with one of the guard vets this past Saturday, and he said that Mark Metzger (their new designer) was meeting the corps (I think) later that evening at the Columba show. He's the current director of James Logan Hgh School winterguard (WGI Scholastic World champs this past season), and I really hope that he can help them improve in a limited time frame. Their guard work and choreography isn't finished just yet. Plus, I think that they have a lot of fairly young rookies this season. Jennifo is no longer with the corps (I don't know why). I think she was helping to transition the program over to Lionell Moore's and Toby Leikness' leadership last season. I was told that Lionell was briefly with them, but I don't know if he will return. I saw Toby during their warm-up this Saturday. I hope this helps explain things a little bit.

Thanks for all of the information. It cleared up a lot of the confusion about each of the respective corps' histories. It sounds a little like the Madison Scouts/Madison Junior Scouts/Capitolaires/Capitol Sound relationship. I first heard of 27 back in 1994 (I was twelve years old and in the eighth grade), when I taped the PBS broadcast. I loved your corps' precision. I wish that I were able to see more footage of you all, and many other corps from "back in the day." I'm still pretty upset that my tape broke right after I returned from tour in 2003!

Hello. Could someone please explain the history behind the I.C. Reveries and the 27th Lancers? More specifically, why did the organization eventually become two separate drum corps? Why didn't they continue as one unit? I thought that they all decided to re-group as "27" after they lost the church's sponsorship. Thank you.

Executive Director: Roman Blenski Corps Director: Jim Jones Brass: Jim Wren (Arranger) Scott Boerma (Caption Head) Donnie Allen Gino Cipriani Jim Elvord Sandra Opie Percussion: James Campbell (Battery Arranger) Jim Casella (Pit Arranger) Tom Float (Caption Head Dennis DeLucia Larry McCormick James Yakas Color Guard: Jim Moore (Caption Head/Equipment Arranger) Scott Chandler (Choreographer/Consultant) Peggy Twigs Charlie Gumbert Chad Duggan Visual: George Zingali/Marc Sylvester (Visual Design) Don Marcoullier Todd Ryan Brett Mascaro Michael Gaines Jamey Thompson Jeff Saktig Tour Director: Moe Latour Consultats: Donie Van Doren, Ralph Hardimon, Terry Artis, Sal Salas, Jennifer Leseth, Harvey Wingo, John Brazale, Steve Brubaker, Scott Stewart. Tour Chef: Emeril Lagasse (BAM!!!) ^0^ Plus, a whole bunch of younger staff persons to learn under these people.