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Found 13 results

  1. What in the world is stopping FLO/DCI/Corps from securing the Sync Rights to offer a DVR Service, To offer Full audio and Video recording of past shows? Surely ASCAP and BMI don't intend to stop a free market. The prices for these fees are negotiable.. Quick math here tells me FLO is charging $150 a year per person. I venture to say they have 20k to 30K Active FLOmarching subscribers. So annually they get 3 million to 4.5 Million is Revenue from Subscribers. (just ballpark, I'd be curious to know the true number, my estimates where based on the fact that they have 105,000 Instagram Followers) After paying the cost for the people running shows, maybe 4-5 people per show that are on tour you'd figure that they are hanging onto at least 1.5 - 3.5 Million after cost. Wouldn't there be some room to secure a sync license for each show. And if the cost is so prohibitive, then why wouldn't DCI help FLO in sharing this cost. Why wouldn't DCI try to get Exceptions from the rights holders and argue for the educational value of these performances to bring the prices down.. IF having the Sync right to the shows (that allowed for DVR and Archives) meant that the cost of the annual subscription went up $50 per subscriber wouldn't you pay to have that access? I would, in a heartbeat. I don't know the details but It just seems to me like DCI freaked out after having the copyright issues questioned/fined a couple of years back and sold their soul to the First company who came along. Why can't DCI sell Ads to recoup the cost of the additional Sync licensing fees. I would not mind to see ads from the top Sponsors in the activity run throughout the stream similar to what we have for Regionals and Finals right now.Run ads during the Archives so that the Sponsors get maximum exposure for their buck. What about Selling Title Sponsorship, Similar to what is happening tonight at Belton, the Yamaha DCI Regional Championship, Like College Football Bowls but for DCI. Anything but sitting back and allowing Flo to destroy the product for now the third year is just simply crossing your hands and giving up while Taking in loads of cash. At this point if I were DCI, When this current Multi-year contract ends, I would hire 20 Intern Aged kids give them 3 Really good Cameras (One for each recording crew) Two boom Mics each to follow the tours around and provide a live recording from the box at each show. Stream the shows through Twitch or some other well established Streaming service that can handle the bandwidth of 25,000 Viewers and spend the rest of the money on the fees required to have DVR function and watchable archives of shows during the season. Prioritize whats important, Good High quality streams that wont fail because of limited bandwidth. Great Sound Quality, "In the stands" Sound that are exactly what an audience member would hear sitting in the stands. Little to no shows that are not Live streamed, Guarantee all TOC level shows are Live. DVR Functionality during the Live Performance time + 3hours. Archives of shows, In-season that can be watched at any point. Not Important In the lot access, Lothype, Youtube and other Independent media companies have this avenue covered, if you wanted to watch something in the lot you can probably watch it without having to watch through FLO. Designer Interviews, Dan Potter and Marching Roundtable are doing an amazing job of this already and if given official access through DCI can cover all of the corps and news during the pre-season to satisfy the fans who crave BTS access. Multicam run by an unexperienced person that is making poor decision on what to focus on and when. Please do better DCI.
  2. The questions that pertain, now that that basic facts of the violations are known are: Did DCI's board know of GH's violations? For how long? What incentivized their silence?
  3. We have a handful of corps that have the talent to win gold, which is outstanding. The sheer number of great ideas this year is more than I've ever seen in DCI, and I've been watching (or marching) since the mid-80s. What pains me most is when show designs hobble great talent, that demoralize almost as much as inspire. What I love to see most is a show design that empowers MMs to achieve their highest potential as performers, as people, and as artists, making the show itself into a work of art that transcends the idiom of drum corps. Usually, it's the show concepts that either click, or fail. A great concept will most always lead to a string of inspired, aesthetically-unified, and effective (GE) decisions in all captions. A poor concept will fail to a greater or lesser degree in all regards, including demoralizing MMs who have to live with it, act like they love it, but hate it secretly until afterwards, when they just end up regretting the decision they made to trust the design team and join the corps. That's the worst of all possible outcomes. Solution to poor design = Open Innovation Here's how to do it (though versions of this have been tried in the past, I'm well aware): 1. The design team must let go a bit and open up, instead of being like Charleton Heston ("...FROM MY COLD DEAD HANDS!!!!"). Egos must be shelved. It's OK, we have to tell the corps directors and design teams. You'll still get your salaries because you're paid to CO-innovate and collaborate, to execute the designs, and hardest of all: to teach a group of young people how to create art. People out there, including potential members who will actually perform the show, have great ideas. Closed innovation doesn't work anymore in business, and it doesn't work well in DCI, at least for several corps, and even sometimes for the very best organizations. (Object lesson: 12.25, 10, Yowza, etc.) 2. They solicit show ideas from fans and alumni, but do so in an organized way, requesting concept, music, arrangement, visual, uniform, flag, prop, etc., ideas that communicate that theme. A standard format and strict requirements for submitting show design proposals must be communicated, just like any professional proposal. I'm talking actual RFPs (requests for proposals). And they could even require that the ideas if rejected cannot be used by other DCI organizations, which would keep the IP (intellectual property) within the community, as it were. Even better: they could request (or even require) individuals and/or teams of future MMs submit proposals. Could be a component of their auditions. 3. They allow the community to view the ideas, comment, and vote. 4. They give the community 50% of the votes, and their team 50%, and the best idea wins. Maybe the second or fourth best ideas will win the following year(s). How could you go wrong with the above? The days of the dictatorial corps director mucking things up are numbered. Just like the days of white guys in cigar-filled rooms deciding which candidate from which prominent political family will represent their party for governor or president. (Oh wait.....) Closed innovation, top-down, dictatorial decisions are so 20th century. So pre-social media. So Greatest Generation. Charleton Heston died angry, red-faced, half-crazy, but reports say that he was holding his wrinkled shrunken antique piece. Don't let this happen to you, top-5 corps. Let go. This is the Millennial Generation marching. They want co-ownership in their organizations. They want to lend a hand, to be empowered, to express their voice, and invest everything they have in its success, from concept to execution, from paper to the Gold medal around their neck at Finals. Trust the alumni, fans, and most of all: future MMs, not just yourselves. Open Innovation will avoid show designs that are inept from the get-go. Open Innovation will yield gold.
  4. BUILD IT AND THEY WILL COME!!! First load of world series astroturf has arrived Help support the corps as we move towards our new home https://www.facebook.com/BlueSaintsDrumandbuglecorps/photos/a.299341480168509.46797.244957045606953/599991250103529/?type=1&theater
  5. Hello, my name is Alexis Macy. I have been contracted to march baritone with the Sacramento Mandarins for their 2015 season. This is a major dream come true for me because I have always wanted to march with a corps, but I never though I could because Im primarily a flute player. I had taught myself baritone (I have been playing for about 9 months now) and I never thought I wouldve been good enough. But now I have been contracted and I have the chance to live my dream. However, there are a lot of fees associated with drum corps. My tour fees plus round trip flight for April is $1600. I am in desperate need for help with this fee. My parents are doing all they can, but they also have financial committments, which means it is up to me to try to raise the funds. If you, or anyone you know could possibly help, I have a gofundme account with which you can donate. My gofundme is gofundme.com/mandarinsme. Any donation is greatly appreciated! Please, I really need help. It would be heartbreaking if I couldnt march my dream due to lack of finances. Thank you!
  6. What if we auditioned for drum corps in the same way that college students rush sororities/fraternities? Let me explain--many of the issues we are facing in our activity relate to overhype of the top 12-ish corps, and lower/non-DCI world corps struggling to survive with low membership. I personally know many individuals who go audition for one or two corps and get cut and do not pursue it further, either because of rankings or simply a lack of knowledge. I didn't know DCA was a thing until my first camp in it, to be honest. What if there was some sort of universal application/audition we could create, and there was a way to check out each corps without having to commit to it (and by commit I mean buying plane tickets, etc). What if there was a way that we could narrow down our range of possibilities based on our ability and willingness to work, rather than simply accepted or cut from each individual corps? This would allow more people to participate, thus growing the activity, and there would no longer be the imbalance of 1000 people trying out for 150 spots in BD and 50 trying out for XYZ corps in DCA. This is just my random crazy idea, but if anyone wants to implement it into their drum corps competitive circuit...
  7. Action Wipes all natural wet wipes is doing a sale for the new year, 20% off with code "FEST2015" This product is really useful for members and spectators all year round, for after rehearsals or at shows. Wet wipes that use all natural ingredients and can be repurposed later on after wash, smell great and don't leave a sticky residue like most baby wipes. Wish I had these when I was marching. http://actionwipes.com/
  8. I typically avoid these boards but I do have a question. Would you as a drum corps fan be interested in seeing a blind draw for shows throughout the country? or even for preliminary performances for world championships? Why or why not? With this year especially being a most competitive year for a couple of drum corps trying to make history, I do think that being in a random draw would be awesome. Why? A judges responsibility is to judge and rate and rank correctly. In looking at some scores and ordinals, I can't but get upset at seeing the same old thing occurring again. 10, 9, 8, 7, blah blah blah going on. I have yet to attend a show yet this year so more will come to fruition later in the week as I attend three shows albeit, in a reverse order of their ranking. Please note, I am not bashing, it just seems constant year after year after year the same thing happens. In open class, the corps go on early in the day on Thursday and the first corps to take the field typically does so to an empty house. Now if, oh let's say, mix things around have a blind draw, and say if Blue Devils B or Vanguard Cadets went on first there would be more of a crowd. This should be a growing, learning, and selling experience for the kids. Seeing 75,000 empty seats to me, would be depressing. The idea would basically be to have the Open Class be a blind draw, the corps in the bottom 11 in a blind draw, the top 10 in a blind draw. This would require true management of numbers and thought process instead of just popping a higher number on the given sheet. And there should not be a big deal since all the corps are judged on the same sheet through out the season as well. Then proceed in semi finals and finals in the seeding process. Just allow some corps who perform literally in front of 200 people be able to see a nice crowd to perform in front of for a bit of inspiration and hope. Just my thoughts.
  9. Oregon Crusaders has made a pretty cool animation to try and describe why we drum corps people do what we do, what it takes to do it, and the impact it has on the community. http://oregoncrusaders.org/thekid/ The video with animation is pretty cool and was done by an OC vet.
  10. Mark your calendars... March 29, 2014, City Sound is hosting a "FREE" benefit concert, and they would love for you to attend. Cabrillo Beach Youth Waterfront Sports Center, 3000 Shoshonean Road, San Pedro, 90731. (http://www.cabrilloyouthcamp.org/) Please invite your friends and family. (See attached flyer) See you there
  11. Let me apologize for the length of this post. About me: This is my first post but I am by no means to DCP as I've been following for several years in the shadows, so I know how heated things can get. I never had the opportunity to march(I got into this around my age out year) but I am an avid fan and supporter, and I very much respect the rich history of the Drum Corps movement. For what it matters, I am also a band director. It is my hope that because of these elements that I can be give a different point of view. Now that that's out of the way, let's get to the point..... Interestingly enough this idea came to me from studying the evolution of the Nation Football League. Surprisingly, if one were to compare early Drum Corps to the early NFL, you would see a lot of similarities: local, community-based amateur teams competing in local competitions. In both scenarios, a handful of successful teams decided it was in there best interest to get together and form their own organization with specific rules and guidlines. Because of this, both groups changed through the years and are not necessarily very similar to what they were when they first started, i.e transitioning from a rugby-based approach, changing point values for touchdowns and field goals for the NFL and moving away from bugles and military-style precision drill in Drum Corps, to name a few. The point is, things typically change if there is a perception that it will make the activity better. Now let me clarify a few things about my own personal opinions: 1) I am a fan of the all brass set-up. It's a wonderful, powerful sound. 2) I am not someone who preaches that things need to "evolve" just for the sake of change. Change doesn't always make for better. From studying history and seeing how progression comes forward, I do think that eventually woodwind instruments and other typical instruments associated with school bands will make their way into Drum Corps. It's a double edged sword: you lose one of the main things that makes the activity different from a typical marching band but at the same time you open up this great experience up for whole new crop of kids. What if we could have our cake and eat it too? What if DCI modified their Open Class to be a true, anything goes category (and I'm not talking SoundSport here)? The groups that feel like they want to go that direction can now do that without being penalized. Leave a World Class Brass category (forgive my lack of creativity on these) for the traditionalists. In terms of competitions,the divisions should be treated like they would at any other competition and be given their own separate scores. The key really is to not allow these two divisions to compete against each other, as you don't want to get into the issue of either orchestration setup working better and comparing the two. Looking at it from a neutral perspective, the benefits seem to outweigh the negatives in terms of letting woodwinds and other instruments into DCI and that's why I see it happening in the future.The move would open up the playing field for many talented musicians who for whatever reason can't/won't learn another instrument and will open up the market value of the DCI brand. It may give credibility and incentive for directors who for some reason don't appreciate what DCI is about to plan trips with their students to shows and purchase DVDs/Blu-rays. A World level Marching Band group would be a great way to get the season started. But most importantly, it provides an educational opportunity and disciplined outlet for more kids. Isn't that what Drum Corps was about when it started? What do you think? Would this setup fly? Do you think this would be in the best interest of DCI?
  12. ________________________________________________________________________________ City Sound Drum & Bugle Corps Los Angeles, CA. FOR IMMEDIATE RELEASE http://www.city-sound.org Contact: Nathaniel Lewis Tel: 323-228-7231 email: nlewis@city-sound.org “Murray Gusseck” 2014 PERCUSSION ARRANGER FOR CITY SOUND DRUM AND BUGLE CORPS Murray Gusseck is considered an innovator and trend setter in the world of marching percussion. He has been a musician since the age of 7 when he studied piano and violin. At age 15 he took up playing the drums and has been performing in bands ever since. Murray made his mark as a teacher and composer with the Santa Clara Vanguard Drum & Bugle Corps, of which he has been both a performer and instructor for almost 20 years. He became nationally known for a unique compositional style, a signature sound, and a propensity for achieving a smooth drumset-oriented approach to this musical genre. Murray helped start Tapspace Publications in 1998 with friend and partner Jim Casella. He is the author of Parking Lot Etudes and co-author of Fresh Perspectives For The Modern Drumline, both of which have grown to be mainstream publications in the world of marching percussion. Murray attended San Jose State University in San Jose, CA as a music major specializing in world music. In 1998 he joined up with schoolmates Nima Rezai and Dan Heflin, and friend Chip Webster, to form "Merge" an eclectic world fusion quartet consisting of Chapman Stick, saxophone, keyboards, and drums. The group toured and performed in northern and southern California for several years, producing their self-titled CD "Merge" He has taught and/or arranged percussion music for many top high schools and winter percussion ensembles throughout the country. Currently Murray lives in the Portland, OR area where he helps manage Tapspace and plays drums locally. He is sponsored by Pearl Drums, Remo drumheads, Zildjian cymbals, and Vic Firth drumsticks. With the newly formed 2014 City Sound Drum line, we feel Murray’s percussion arrangements are not only vital for the new un-conventional 2014 show, but sonically on the cutting edge of percussion charts arranged just for city sound. We here at City Sound are all extremely excited that Murray is part of our staff. Sincerely Nathaniel W. Lewis, Executive Director City Sound Drum and Bugle Corps http://www.City-Sound.org
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