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Found 53 results

  1. Greetings! For about six months now I have hosted Sketchbook Podcast which focuses on creativity, preparation, & effort with artists, creators, & educators. Part 1 of the interview with Chris Komnick, executive director of the Madison Scouts, releases at midnight on April 13th. I fully realize that to many, Komnick and/or the Scouts tend to incite some polarizing posts and threads. But this episode is drum corps related and so I thought I would make sure to publicize here. Ep. 28, Part 1: Chris Komnick (Executive Director, Madison Scouts D&BC) So that you have an idea of what exactly we talked about, here are the bullet points for Part 1: Personal Profile Life, Education, and career Komnick's path from marching member to executive director. Is drum corps too expensive? Increase in costs, where does the tuition go, & how much does member tuition actually cover. The effects of BAC assembling their "super group" of designers and staff in 2016 & the California Wage & Hour Laws on DCI. Have the two coasts altered the financial landscape of DCI? Does the cancellation of the 2020 season function as a "financial reset" for DCI? The timeline and process behind deciding to become gender-inclusive. To some, this may not seem we got too deep into DCI and/or the Madison Scouts. But I assure you that Part 2 will definitely focus on the highs and lows of the Madison Scouts. Part 2 will release later this week. Sketchbook Podcast is available on Apple Podcasts, Spotify, Google Podcasts, & wherever fine podcasts are downloaded. Ep. 28, Part 1: Chris Komnick (Executive Director, Madison Scouts D&BC)
  2. Drum Corps - An Activity To Career In related posts; KeithHall has posted numerous topics in Historical Junior Corps Discussions including How Did You Start in Drum Corps? By KeithHall, February 12 in Historical Junior Corps Discussions https://www.drumcorpsplanet.com/forums/index.php?/topic/172531-how-did-you-start-in-drum-corps/ Skeletor '96 posted: Why I joined the Cavaliers in the 1990s By Skeletor '96, February 20 in DCI World Class Corps Discussions https://www.drumcorpsplanet.com/forums/index.php?/topic/172568-why-i-joined-the-cavaliers-in-the-1990s/ rpbobcat posted: Not Exactly Drum Corps By rpbobcat, January 26 in DCI World Class Corps Discussions https://www.drumcorpsplanet.com/forums/index.php?/topic/172472-not-exactly-drum-corps/ bdkappasig posted: famous corp members (13 pages of posts) By bdkappasig, July 19, 2006 in DCI World Class Corps Discussions https://www.drumcorpsplanet.com/forums/index.php?/topic/82724-famous-corp-members/page/3/ I posted: Not Necessarily Drum Corps - Female Brass Players By Rich Cline, Tuesday at 05:54 PM in DCI World Class Corps Discussions https://www.drumcorpsplanet.com/forums/index.php?/topic/172653-not-necessarily-drum-corps-female-brass-players/&tab=comments#comment-3876900 Besides the usual things learned in drum corps like musicianship and character, marching in a corps teaches you discipline, focus, respect, and to have an open mind. I envy those who have marched and gone on to have professional careers in the music industry. There many famous people that were involved in drum corps going back to "Cubby" in the Mouseketeers, the invent of the "Blue Man" Group and recently and article referencing Chic Corea and a new jazz album which was released. Following is a list complied from various forums listing famous people that are known or believed to have marched. Famous people that were involved in drum corps. (Alpha List Sort) Billy Cobham was in the Sunrisers Chad Sexton marched Skyriders Drum & Bugle Corps Chic Corea marched when he was a kid. A friend of a person met him back in 93 and he (the friend), being a Devils alum, asked wheather he had ever heard Blue Devils' performances of his (Chic's) music. So they got to talking about drum corps stuff and found out that he marched soprano when he was a youngster (the corps name Purple Knights jumps to mind, but I'm unable to verify). Another poster said Chick Corea marched in the St. Rose's Scarlet Lancers (from the Boston area) Chuck Mangione Cliff Klaven (aka John Ratzenberger) played bass drum with the Royal Lancers in Bridgeport, CT in the '60's. Dave Gibbs (Blue Devils director) marched Blue Devils soprano Doc Severinson marched with a corps in Eastern Oregon in his youth. It was an American Legion Post corps (no name is specific). Ed McMahon George (Mr. Sulu) Takei marched in the L.A. Koyasan Scouts. Glenn Kotche marched Cavaliers Drum & Bugle Corps Maynard Ferguson was said to have marched in a corps from Canada... and one poster said that he heard that Maynard "worked" with Toronto Optimist hornline in the late '60s. Michael Jackson (the football player with the Seahawks in the 80's, not the gloved one) marched with the Columbians of Tri Cities, Wa in the 70's. An article talked about Tommy Lee going through various drum corps' in his youth. But didn't say which Corps he was in. Pat Petrillo marched Bridgemen Drum & Bugle Corps A close friend of a person had a Rush autobiography book..in this book, an interviewer asks Neil if he marched...he said no. He did however say he liked them. Russ McKinnon is the drummer for Tower of Power now. Tower of Power marched in 27th Lancers Skip Prokup(sp?), drummer for Lighthouse("One Fine Morning") marched Optimist; he even pulled out a full size corps snare on a stand during concerts. He does a religion show on local radio now. Steve Gadd marched with the Rochester Crusaders Drum & Bugle Corps from Rochester, New York. Steve Rondinaro (corps unknown) Two members of the group The Who (John Entwistle and Keith Moon) marched in a corps in England. Tommy Igoe: New York Voices ...bridgemen..early 80's Wayne Downey (Blue Devils Arranger) marched Sunrisers I'm sure there are so many more. See: famous corp members (13 pages of posts) By bdkappasig, July 19, 2006 in DCI World Class Corps Discussions So, my topic for discussion is: Drum Corps - An Activity To Career Q: How did your time in drum corps impact or enhance your career?
  3. This post may sound a bit "Corny" but I would like to acknowledge cfirwin3 as "Teacher of the Weekend" for the week ending 7-28-19. He has provided us with some very detailed and informative posts explaining a number of points about music and the drum corps activity. Additionally, he has uploaded a series of videos on youtube comparing older drum corps shows to newer show designs. Well Done and Thank You
  4. So everyone usually does a new ending between San Antonio and Atlanta. Anybody heard who has plans for new endings?
  5. Colts 2019 (When Hell Freezes Over) Mandarins 2018 (and some might say 2019) Music City 2018 (Hell on Wheels) Crown 2015 (Inferno) SCV 2011 (The Devil's Staircase) Seems to be a pretty popular theme. Any ideas why? (Thinking too much about the Texas tour, maybe?)
  6. It seems like having massive props is getting more and more expected/required - whose work, whose do not?
  7. This is an honest question, not rhetorical and not a rant. I'm not trolling, and would appreciate non-defensive answers, even though my question may sound provocative. Does anyone here know what the show designers are trying to convey with the writhing, contorted posturing, crouching, squatting, reclining and grimacing? Is this a popular style with no intended meaning? Is it just motion intended to create visual interest? Is it supposed to express emotion? Is it interpretive dance intended to tell a story? A blend of marching and dance? Watching, I feel confused, and I'd really like to know what the designers have in mind.
  8. The Mummers are the costume kings of visual design. My favorite winter event. I am not trying to take away from either activity but I think they have been drawing closer together in recent years in show design and attire. Who is coping who?
  9. First, the good: It’s nice to hear brass lines punching up the volume again and most corps are accomplishing this without field microphones. Congratulations! Design staffs listen to the veterans and fans after all! We want a big sound and we want it to be produced by natural means. Now, with that being said, each corps used to have its own particular sound. Back in the day you could pick out a brass line blindfolded: Phantom had a particular sound, Madison had a distinctive sound, etc. No longer. Every brass arranger in DCI seems to use the same technique. The trumpet parts are arranged similarly, etc., and its hard to distinguish between some of the brass lines today. Sure, there are differences in quality and clarity but in general there is what I call sameness across DCI. To me things sound tuba- and mellophone-heavy across the board especially live. Even some of the best brass lines in the country sound like a radio with the bass turned up and the treble turned down. Other than from the Blue Devils I don’t hear the searing-hot trumpet sound cutting over the top of the brass section. To my mind the best brass sections shade a little toward the treble end of the balance scale; not a lot, just a little. Look, modern brass lines are amazing but it sounds like the parts were ripped from Arban’s technique book. Would it hurt to play more than four consecutive measures of an actual piece? Other than parts of “Bolero” by The Cavaliers, a couple bars of “God Bless the Child” by the Bluecoats, and a trumpet solo from Phantom Regiment in “New World Symphony,” I don’t hear much I recognize. It’s mostly a ten minute mashup.
  10. Hi, everyone, before I get to my next match up episode, I wanted to take some time and talk about uniforms in DCI. Uniforms have been around since the birth of the marching arts. However, starting in 2016, a movement began. The Bluecoats won their first championships wearing costumes that were customed designed. When the Bluecoats made their departure, other corps followed the same path. In 2017, The Santa Clara Vanguard, The Blue Knights, The Cadets, The Madison Scouts, Gold, Southwind, and The Guardians made the move to costumes. Seeing this movement makes one wonder how long do traditional uniforms, ( shakos, plumes, jackets, and pants ), have until they cease to exist in the Drum Corps World. When looking at the costumes themselves, they have both won championships and lost championships. In the 2016, The Bluecoats won their very first championship wearing costumes. However, the following year in 2017, The Bluecoats, The Cadets, and The Blue Knights finished lower than they did in 2016. On the flip side, The Santa Clara Vanguard and The Madison Scouts finished higher than they did last year in 2016. Santa Clara Vanguard managed to climb up all they way into the top three for the first time since 2004 and The Madison Scouts made it back into the finals after finishing 13th in 2016. For the Open Class Corps, The Guardians, Southwind, and Gold became the first open class corpsnto wear costumes. The movement of using costumes has spread to both the World Class Corps and the Open Class Corps. In my opinion, I like uniforms and hope that they stick around in drum corps. Now, in this thread, please post below what your thoughts are on uniforms and costumes in DCI.
  11. Hey beautiful people! So here are my thoughts. I've been living in Vegas for a year now and there is not much of a WGI presence out here. UNLV has an IO guard but that's the extent of it. I want to start an IW guard here (and maybe IO, IA and scholastic if the interest dictates). My previous groups used bingo halls for funding as many do. I have some connections with a number of businesses out here that may be willing to help with initial start up. I was thinking that since the casino/gambling industry is so large out here, perhaps one or more companies would be willing to sponsor us if we advertise for them. There is a strong sense of community and local support in this city and it could potentially make the difference. I am also curious as to how many people in the area would be interested in this. Are there others here who want a world guard? Has this been attempted before in this area? Are there people who want to teach and march? Help with competitions and the like? Everything in between? I marched Bluecoats, Empire Statesmen and Patriots IO (including others that do not have name recognition so I won't list them). Drop some words if you have the desire! Let's make something cool!
  12. SDCA is looking for Music , Percussion or Design professionals that would like to advertise for free.. go to ..thesdca.org to sign up
  13. It is readily becoming apparent this season that the new trend of amplifying entire hornlines (or large ensembles) is not sitting well with the fanbase. I have seen many calls for either the judges to limit rewarding or even penalize amplification of this magnitude, I've seen calls for DCI to change rules to better define what can and can't be done. All this clamoring will not do anything if confined to DCP. Action is what brings change. I ask the community, the fans, parents, and alumni, for help in drafting an open letter to DCI. We obviously have concerns, let us voice them directly. Being able to sign on to the letter will obviously be important, as there is strength in numbers. It should be disseminated as far as possible as well: to Reddit, at shows, etc. I do not know a platform that will facilitate this, so help here is appreciated. Below, I've typed out an example of what this could look like. Please help me flesh it out a bit. I will consider all criticism, as long as it is constructive. And please, keep the subject to amplification and electronics usage, this is not the proper time for an argument about rights, streaming, the fan network, etc.
  14. Hey DCP, I'd love it if y'all could take a look at something I've been working on. Specifically, my new Mac app for marching drill design called – wait for it – Drill! http://celestialteapot.com/drill/ I noticed that existing drill design apps tend to be pretty pricy, so I set out to create one of my own. Drill is not quite as sophisticated or feature-rich as some of the much-more-expensive drill design apps out there, but I think it's got all the most important features. Drill has a nice Bezier Path tool that allows you to create formations of literally any shape. Of course you can print out Drill-Set Sheets for your show, and you can also generate individual Coordinate Sheets for each marching member. And Drill also has a animated playback feature for watching your show back as a 2D animation. If you're a Mac user, you can download the free trial version of Drill from my website link above. And if you like what you see, do me a solid and tell your friends/colleagues! Thanks!
  15. Crimson Kings Drum Corps seeks Drill designer for Soundsport shows and an upcoming Brooklyn Nets fall 2017 Barclays Center performance. We are looking for both prepackaged drill (preferably scalable) and group specific drill options. Our Corps is currently 25 members. We are actively recruiting and 60 members is our target number. Open to all styles of music, however our Corps still uses G bugles and Fifes. Open to Avant garde, traditional military, and hybrid drill maneuvers, dance, etc. Our Members range from ages 10 to 22. Content should be age and guideline appropriate. Please have links to any of your materials, and compensation requirements. Open to experienced and brand new designers and arrangers. The New York Crimson Kings Drum, Fife and Bugle Corps, established in the 1950s, is the oldest and most honored Asian-American drum corps on the east coast dedicated to youth development through music and performing arts education. Please let us know if you also teach your drill with the staff. Should be familiar with marching band, DCI, DCA, Soundsport judging requirements and Maneuvers Send examples, resume/experience to nycrimsonkings@gmail.com crimsonkings.com facebook.com/crimsonkings
  16. SDCA (Small Drum Corps Association) would like to have profession music arrangers, percussion, and choreographers advertise for FREE on the SDCA website. www.thesdca.org. Do you think there would be interested professionals looking for something like this?
  17. Bloo has stayed away from the narrative (story telling) trend for past few years with their more conceptual shows (Tilt, Kinetic Noise, Downside Up). The only other corps that was really more conceptual than narrative this year were SCV and the Cavies, and I'd still call what they did more "hybrid" type shows because there was definitely a story going on in each of them, but it wasn't explicit all the time. Do you think Bloo's win might result in more conceptual show designs from other corps over the next few years?
  18. The CTHurricanes are excited to announce their 2017 Music Design Team. Ray Fallon, Jr. is joining the Hurricanes and will serve as the Program Coordinator. Aaron Goldberg, who consulted with the corps in 2010, will be the brass arranger. Hurricanes Alumnus Tom Gasparrini will be the Battery Arranger and Matt Hahn will serve as the Front Ensemble/Electronics Arranger. This team brings a wealth of music experience to the Hurricanes, along with years of success in the drum corps activity. The team is hard at work to design a competitive and engaging program for the DCA audience! Executive Director Brian Maroldt said, “We’re extremely excited about the music design team we’ve assembled. I can’t wait for everyone to see what Ray, Aaron, Tom & Matt put together for the Hurcs in 2017!” You can check out the bios for our Music Design Team on our website. Remember, our 2017 Open House is taking place November 26 & 27 at Amity Regional High School in Woodbridge, CT. Get all the details at CTHurricanes.org/Join.
  19. Over the 15 years of my DCI fandom, there has been a strong move toward explicit theme and direct storytelling. In 2014, Crown did a show about outer space. It's pretty much the consensus view that it wasn't the greatest design, but hear me out. In the beginning of the season, there was the Major Tom introduction, an overly-long but timbrally-intriguing percussion feature, the echo effects etc. One of the (many) great things about Space Oddity by Bowie (RIP) is that it trails off at the end. The listener is left to wonder what happened to the astronaut. Did some small valve on his spaceship fail and cause him to asphyxiate? Did he go into a wormhole? Did mysterious radiation transform him into an interdemensional squid-creature? But in Crown's final narrative with added narration, Major Tom goes into space, some things happen, then he comes home. There's not a lot of space for the audience to contribute to the narrative with their own creativity. One of the reasons that I (and many others) prefer the movie 2001 (an inspiration for the Bowie song) to Arthur C. Clarke's novelization is that it shows, rather than tells. Everything is spelled out in the book, whereas the viewer has to interpret the images, etc. in the film. Drum corps, I argue, is the same way. Would Cadets 2005 been better with giant waterfall props in Liquid? Subtly and discretion can be good things, but I feel like judging is pushing everything to be SO literal and forcing everyone to tell a LITERAL story with a beginning, middle, and end. Drum corps is a ~13 minute audio-visual medium. Hard to tell a simple story in a coherent and compelling way in that time, let alone something deeper, even with narration etc. Even Crown 2013, which some see as the greatest show designer ever, basically comes down to "love is nice." TL;DR: Stop trying so hard to be "deep" and tell some profound story in your show, use music and visuals to create a mood and err on the side of subtly
  20. Everyone knows the Blue Devils are often the class of the field in design, and their uniforms are no exception. What are your favorite looks since moving on from the traditional jackets in 1994? 1994-2014: An absolute classic which broke from tradition and perfectly exemplifies the dominant "Star Trek: The Next Generation" style of 90s/2000s uniforms. Worn for 4 championship seasons. 2004-2005: An underappreciated look, IMO. Classy jacket but not too different from the old ones. 2006-2008: Introduction of asymmetrical white stripes. 2009: The beginning of increasingly flamboyant designs with the now-standard half-skirt-cape in a strikingly contrasting color. Also, big white plumes. 2010-2011: A lot of stripes. 2012: Colorful undershirts for this innovative and strange show. Jackets applied later were similar to 2010-2011. 2013: Added feathers are classy but slightly whimsical. Less busy jackets. Split-color uniforms and the new shiny-square shakos. 2015: A lot of color for "INK" 2016: Also different shades, can't see the half-skirt-cape's blue to black fade. Blue feather. Interesting cascading layers.
  21. I got this in my inbox today due to my use of their services. No doubt this is an attempt to do some major PR control. I'm not sure what specifically made them want to send this out though. Maybe issues related to DCI, WGI, and MFA? "Dear #### I would like to take this opportunity to re-introduce Tresóna: who we are, what we do, and why we do it. Tresóna was started, and is currently staffed, by musicians, educators and music fans. We have created a simple and cost-effective licensing platform and are committed to protecting the rights of songwriters to make sure that they are rightfully compensated for their work. Thousands of hard-working songwriters and publishers are dependent on the royalties collected from the licensing of their music to survive. A vast majority of these publishers are small family businesses with one or two employees; they are not multi-national corporations. They are no different than the arrangers, choreographers, set designers, costume creators and thousands of others whose livelihood is dependent on a vibrant music industry. Music is the key ingredient and the foundation of all performance ensembles. Without songs, there would be no marching bands, show choirs, a cappella groups or any other musical performance group. The licensing of custom arrangements, which is required by the U.S. Copyright Act, is often one of the smallest line items in the budget of many ensemble programs. Most performance ensembles obtain the necessary licenses; however, there are some ensembles and organizations which refuse to do so. The abuse of the system by these groups for illicit financial gain has been shocking. There are large enterprises with ensembles that travel all over the country performing at both nonprofit and for-profit events. They pay enormous sums of money for choreographers, arrangers, contest entry, lighting, costumes, props and a host of other outside services. Despite having budgets of more than $500,000/year and generating surpluses of over $150,000/year, these organizations refuse to get the licenses they need and compensate songwriters for their songs. Rather than pay the relatively small licensing fee and promote proper licensing behavior, some ensembles have opted instead to retain high-priced lawyers and consultants to avoid obtaining the necessary licenses. When the dedication of this small group of ensembles deprives songwriters of their ability to make a living, Tresóna and the rights holders we represent are forced to defend these rights in court. When this happens, it is disappointing and begs the question: How can the community as a whole promote participation in the arts and suggest to students that a career in music is viable if it doesnt support the foundation of the entire music ecosystem - the songs and the songwriters? Tresóna is proud of the work we do and deeply value the excellent working relationships we have developed with thousands of arrangers, directors, music educators, parents and performers around the country. We are committed to partnering with, and listening to, the ensemble community so that we may grow these relationships, as well as nurture new ones. We thank you for your support and look forward to our continued relationship in the years to come. Best, Larry Mills EVP, Tresóna" ..... End of letter I absolutely understand the need for composers/arrangers/creators to be compensated. I also understand that there are groups (both scholastic and independent) that have extremely bloated design budgets. But in my opinion, this copyright situation is getting a bit out of hand, at least in regards to video performances. We are losing an opportunity to share with our younger generations the great performances organizations like DCI, WGI, and MFA have to offer. Our kids (and educators) are missing the ability to see their peers across the country achieve things that they didn't know were possible. I can't even purchase older BOA and WGI DVDs for our library anymore. What are your thoughts about what Tresona is saying?
  22. There's a art to percussion writing, and sometimes a good percussion book can make or break a show. As someone who's looking to get involved in more percussion arranging, what are some hallmark shows to look to to learn? What shows have come to define how a book is written? What makes it great? Why does it stand out from the rest? Any random tips, facts, or tidbits of information? Discuss.
  23. In the past few days, the Hurricanes have announced their 2016 Program & Design Team! See the information below, and click here for a clip from the local news station plugging our Open House, coming up on November 28 and 29! 2016 Connecticut Hurricanes Program Announcement The concept of Freedom is multifaceted. It is a concept that represents the opportunity to embrace a system of beliefs, to choose methods of expression, and the ability to pursue one’s dreams. It is the concept of Freedom that stands as a cornerstone of democracies around the world. The 2016 Hurricanes are celebrating this idea of Freedom and the opportunities it allows those who have it. Using the liberating and inspiring strains of “Amazing Grace” woven through the program, combined with other musical selections, the Hurricanes will explore varying aspects of Freedom. The repertoire will consist of: •. Amazing Grace •. Freedom by Michael W. Smith •. Now We Are Free (Nelle tue mani) by Andrea Bocelli, from Gladiator (Hanz Zimmer/Lisa Gerrard) •. Freedom Triology by Paul Halley & Theresa Thomason The Hurricanes hope you will celebrate with us the possibilities, realities, and blessings that Freedom can afford. Freedom is a liberating experience that we should never take for granted. 2016 Connecticut Hurricanes Design Team Announcement The Hurricanes are excited to announce their 2016 Design Team! Returning from the 2015 Design Team is Visual Designer Rick Morey and Brass Arranger Matt Krempasky. New to the Hurricanes Design Team in 2016 will be JJ Pipitone as the Percussion Arranger Lennie Machado as the Color Guard Designer. Bob Kogut and Bill Solari are also contributing to the creative process in addition to their roles on the instructional staff. The team is working diligently to put together our 2016 program, Freedom, which will explore the ability to express yourself freely, choose freely, and pursue one’s dreams. The show promises to be a step forward for the Hurricanes and one that will resonate with drum corps fans. Our 2016 Open House is coming up on November 28 from 9AM-3PM and November 29 from 9AM-4PM at Amity Regional High School (25 Newton Road, Woodbridge, CT 06525). You can read more about the designers below! JJ Pipitone – Percussion Arranger JJ Pipitone received his Bachelor’s Degree in Music Education from Morehead State University and his Master’s Degree in Music Education from the University of North Texas. He is currently an adjunct percussion professor at Texas A&M University - Commerce. Before this, he served in the public schools for 16 years as an assistant band director in the Lewisville and Grapevine Independent School Districts in the Dallas Ft. Worth area. In addition to all of the percussion responsibilities from 6th-12th grade, his duties have included Concert Band, Music Theory, Music History, Jazz band, and Musical Theater. JJ has extensive drum corps experience, having marched for 9 years in drum corps all over the country including numerous drum corps in the up-state New York area, the Dutch Boy, the Phantom Regiment, and the Concord Blue Devils. He won the DCI Multi tenor competition in 1989, The PAS Multi Tenor competition in 1990 and placed 2nd at the PAS marimba competition in 1992. As an instructor, JJ taught the World Champion Phantom Regiment in 1995 and 1996. In 1997, JJ was the Caption Head and the Battery Arranger. He went on to teach the Glassmen in 1998 and 1999 and the Crossmen in 2000 & 2001. He also served as Caption Head and Percussion Arranger for the Rochester Crusaders and the Empire Statesmen. JJ’s extensive judging experience has taken him around the globe since 2003. He is honored to be affiliated with Bands of America, Winter Guard International, and Drum Corps International. Lennie Machado – Color Guard Designer Lennie Machado is originally from the Boston area and has been involved in the Color Guard activity for over 20 years. He currently runs L-Mac Designs, a custom design company dedicated to the pageantry arts based out of Everett, MA. In 2014, he was inducted into the Massachusetts Drum Corps and Music Educators Hall of Fame for his outstanding contributions to the activity. Lennie has served as Caption Head and Designer for the Spartans Drum and Bugle Corps, Sacred Heart Winter Guard, St. Brendan’s Winter Guard and countless other groups through New England and the US. Lennie will bring his demonstrated and award winning skills to the Hurricanes Design Team this year to help bring the color guard and drum corps as a whole to the next level. Rick Morey – Visual Designer Rick, who lives in Utica, NY with his wife Barbara, has worked in the pageantry activity for several decades as a designer with various winter guards, marching bands and drum and bugle corps and as an adjudicator. Rick established the New Hartford Winter Guard and served as a designer and instructor for them for almost 30 years. He continues to be very active as a visual designer for championship marching bands in New York, New Jersey and New Mexico, as well as for the Rutgers University Marching Scarlet Knights. He also had the privilege to design the 2014 Super Bowl Pre-Game featuring the combined Syracuse University and Rutgers University bands. He has had a longtime involvement in both DCI and DCA as a designer, program coordinator and consultant. His DCI affiliations have included Pioneer, Magic of Orlando and the Colts. In DCA, Rick has designed for the Steel City Ambassadors, 5-time DCA Champion Syracuse Brigadiers, Empire Statesmen and Windsor Regiment. Rick is also honored to have been inducted into the Mid-York Color Guard Circuit Hall of Fame, the New York State Field Band Conference Hall of Fame and the World Drum Corps Hall of Fame, where he serves as Chair of the Visual Screening Committee. As an adjudicator, Rick has judged for DCI, DCA, WGI, US Bands and BOA, as well as numerous marching band contests across the country. A past President of the New York Federation of Contest Judges, Rick has also served as a clinician in the United States, Canada and Great Britain. A retired high school counselor who was named New York State Counselor of the Year in 1996, Rick now works in the pageantry activity on a full time basis. Matt Krempasky – Brass Arranger Matthew F. Krempasky’s writing career began with the Reading Buccaneers in 1983, and has since expanded to drum and bugle corps, college and university bands, and high school ensembles from around the world. He wrote for the Bucs from 1983-1987, the Caballeros from 1988-1991, the Spirit of Atlanta from 1997-1999, and, most notably, for the Crossmen drum and bugle corps from 1986-1994, helping to return the Crossmen to DCI finalist status as well as helping them to their highest place finish in the history of the corps (6th place, 1992). He is has been elected to three different Drum & Bugle Corps Halls of Fame - the Reading Buccaneers (2006), the Pennsylvania Drum and Bugle Corps (2011), and the Crossmen (2012). Mr. Krempasky holds a Bachelor of Science degree in Music Education from Gettysburg College in Gettysburg, PA and is currently the band director at Somerville (NJ) High School. He is a frequent performer and recording artist in the tri-state area on both trumpet and trombone. He has also studied computing and education at Columbia University’s Teachers College. In 1998, he was selected as the New Jersey Master Music Teacher by the New Jersey Music Educators Association. Since 1990, he has been a proud member of Mensa, the international IQ society.