One Fan's plea...

[IanKShields]

I agree that not being familiar is not a good argument. And I am not an expert of any kind... but I do recognize most all of Phantom Regiments works from the prior years. I may not know what exactly they are but I know I have heard them before. I do think I am a good audience and am very objective of new things I learn as the Corps show me new things. I am just saying that if you ask 3000 people if they know the Red Violin you will get very few that do. Ask the same 3000 if they know New World Symphony or Spartacus and many would recognize the music. And I stand by the view (my view) that when an audience recognizes the music...the reception of it is more positive. I am not trying to be "cocky". Just sharing my opinion!!

You observe that audiences are often more receptive to the familiar, but fail to make a case that that is a positive thing, or that artists should be overly married to the audience's limitations.

The cockiness lies in the blind assumption of audience wisdom, over that of the artist -- the steadfast attitude that the familiar is somehow "better" than the unfamiliar, and that an arts organization should somehow guide its work by ignoring its own education, and limit itself to what it guesses some imaginary audience knows already.

Whether it is one audience member with this unconscious attitude, or 3000, the result is the same -- it is a completely stifling atmosphere. It's just as much a killer of performer enthusiasm as any lame musical material, and even more common.

Let's face it, as a performer, I am most stimulated by audiences who are smart, receptive, and enthusiastic. And why shouldn't I be? it makes me want to give them more stuff!

By contrast, I can't get very hyped when I know that the crowd is sitting there like a temperamental teenager with a limited palate, hooting and cheering the Welch's Grape Drink that was pumped out of a factory spigot, while ignoring the great Cabernet you've spent years and love developing in your vineyard.

Anyway, I am also an audience member, and I applaud the more rarely-performed works louder than the familiar ones, almost out of habit. I believe they are braver choices, show more trust in the listener's intelligence, and deserve more reward.

Am I wrong? Should I be working on dumbing down and closing my ears more? Is my curiosity and joy of discovery something that doesn't belong in an audience?

Oldest question in the world of the arts: Should we be pandering, or striving?

You tell me.

[Scoutnout]

Isn't some of the guard staff still there from last year? I thought a few stayed.

How far down have they been ( Sorry havent looked ) I know they werent in top 3 last year..or am I wrong on that...lol

Anyway..PR has always been a quality program and know what they have to do !!!!! Now do it

[Captncontra]

What it breaks down to is great staff = chance at championship. great staff + longevity = chance at multiple championships. That much turnover of great staff is bound to affect any corps.

[SF2K4]

Let's face it, as a performer, I am most stimulated by audiences who are smart, receptive, and enthusiastic. And why shouldn't I be? it makes me want to give them more stuff!

By contrast, I can't get very hyped when I know that the crowd is sitting there like a temperamental teenager with a limited palate, hooting and cheering the Welch's Grape Drink that was pumped out of a factory spigot, while ignoring the great Cabernet you've spent years and love developing in your vineyard.

I completely disagree. As a performer I'm stimulate by an audience that is receptive and jumps to their feet and throws babies as soon as I step on the field and then goes into a frenzy when we blow the stands down. I don't care what I play as long as it brings out that reaction and I enjoy playing it.

[jjeffeory]

I love Regiment. They are my favorite corps besides the one I marched. But to be honest, they put this upon themselves. After winning a championship, why would you hire someone who oversaw a 12th place semifinals guard and a 8th place finals guard from the previous year? What did they think would happen?

Maybe that was the best available talent? Honestly, a lot of programs would be happy with hiring someone who had done that, but I realise that this is previous year's former champion. I'm not sure what to say other than that's a decent track record for a hire. The other part of the equation could have been talent in the guard went down? It takes, good staff, talented members, and a good design for things to work. Maybe this years show design isn't that good? I see Phantom around the 5-7 place mark this year. I see Bluecoats and SCV above them. Phantom's horns and drums are just too good to drop them further. Actually, Blue Stars is looking and sounding pretty good as well. Wow! Don't worry, they'll be alright, I hope.

[SF2K4]

My question is why is Phantom having to settle for "the best available"? Why are staff leaving? I realize there is always the potential for a conflict of ideas amongst the staff but it seems there's a lot of staff shift from UPPER to LOWER corps... now I know Crown isn't really lower than Phantom but the point is staff leaving last year's CHAMPION for a corps that wasn't... just seems odd to me that it seems to happen so often in the activity.

[jjeffeory]

My question is why is Phantom having to settle for "the best available"? Why are staff leaving? I realize there is always the potential for a conflict of ideas amongst the staff but it seems there's a lot of staff shift from UPPER to LOWER corps... now I know Crown isn't really lower than Phantom but the point is staff leaving last year's CHAMPION for a corps that wasn't... just seems odd to me that it seems to happen so often in the activity.

Well, the Grass is greener...

We're not going to know the specifics to this particular story, but maybe Adam wanted to move on. Maybe Phantom wanted to move on for artistic reasons? Maybe Adam wanted to do full corps body movement and Phantom didn't? Maybe Crown said, okay! Let's try YOUR show?

I could make a list of reasons a mile long for people to change where they work.

I really think the problem lies in the design of the show. It's definitely NOT the talent in the corps. I'm just not sure that what they've been given isn't the best it could have been.

[PRPhan4ever]

Your entire post makes a beautiful point about performers needing to believe in a show's strength in order to "sell" it, and generates a vivid sympathy for them. Beautiful, at least, until the last part, where you strangely dismiss "The Red Violin" (a great film, with great music and a great concept, which you and your friends should have seen) on the basis of not having "heard of" it.

Saying that you are ignorant of a piece is not a valid criticism of it, and I think you must realize that in your heart of hearts. How many other great works don't you or I know yet? Do you and your friends think you know all the pieces in the world of music that are worth performing? Are you that well-versed?

I'm a professional musician, with solid Classical training and decades in the business, and I'm not remotely that cocky about my familiarities. Quite the contrary -- I am still acutely aware of how much more I have left to discover. Heck, I'm blown away by new things every week!

Please do not judge things by their familiarity. It is a meaningless limiting of your enjoyment and discovery, and it's even fundamentally repressive towards those who come to show you what they have discovered.

I beg you as a performer: judge works by their qualities instead, and never assume you know it all already.

Take care, and be a good audience.

I would like to ADD my sentiments ------------

Lets remember that these corps, thse kids, these shows are FOR THE PERFORMER! They pay to march corps and do so willingly with all the trials, tribulations and B/S & T (blood, sweat & tears) every day. I see alot of technical performance in Regiments brass/percussion book this year -- it's heard in the performance of the show with even said, younger members. However, I recall a post/email by famed Tony Hall last year that outlined a scenario about what SPARTACUS was, what it meant to them - to the audiance - how Regiment was going to approach it as a departure of years past. So again this year I will do the same..............

Regiment members & staff----- YOU HAVE YOU'RE WORK CUT OUT FOR YOU! Matching the brilliance, musicality and passion of SPARTACUS could not possibly be duplicated EVER! It was a magical, spine tingling thing! It cannot be matched nor surpassed and I think you all know this. We as fans, fellow musician and past marching members however, want so badly for that same intensity and belief in THIS YEARS show, the "Red Violin" will tell a story, show us what is being played and why, but perhaps the corps has yet to "lock in" what the Red Violin and "It's" story means to each and every one of THEM! From the guard member to the players in the pit. from the horn players to the battery -- what personal struggles, decisions and issues are they facing that they can turn ineard and say -- like "Spartacus" - "Hey this story is all about me.... all about us, the Regiment and our constant struggle to be understood, rewarded and praised for what we do so well on the field every night, every show - for EVERY PERSON WHO PAID TO SEE/HEAR US".

Let me tell you how "I" - me, a 20 year PR supporter, booster and volunteer and member sponsor feel. Inside, this show is Regiment -- in a whole DIFFERENT aspect than 'I AM SPARTACUS'. The plot is simple................. a devout musician (which is, no doubt all of Phantom's members & staff) driven and obsessed with passion for his/her instriment and the music and sound. beauty it makes. Divided by true love of his heart (the love interest - and, I guess, this yr - could be compared to Regiment's fans and Alums that love them so dearly) and the need to play the most wonderful melody's with technical prowess and ability (the skill level of the performers) possible from 128 individuals on a football field. The "Red Violin" is about inner struggle between TWO THINGS that consume one's heart, mind and soul. This year, I believe that it's between PR living up to their Passion, Power & Peerformance for THEIR fans, and choosing NOT to perform something that would BE EXPECTED!

If Regiment came out & said they were doing "New World" again, they would be accused of closet cleaning, rehashing, retreading old, familiar ground just to try and match SPARTACUS!. Regiment has never focused on winning - it's the performance and the crowds reaction to it that matters to them.

Regiment members.... YOU ARE, without knowing it -- in that same inner struggle to determine what is best for you - and what you truly believe in. Trust the staff, work hard(er), make the audience (and the judges) FEEL that struggle to not REPEAT -- but to be REPLEAT! Be it COMPLETE with resolve that when that last chord is hit - and the flags hit that finals toss and that red violin is tossed high aloft --- that you, the members of PHANTOM REGIMENT BLEED RED with the love of performance, the sweat of the passion that makes you do what you do -- the ability to move people like no other corps through the sound and visuals you perform and that, will make the struggle all worth it and understandable to us, those in the stands, without even trying any harder!

Drum Corps life is a stage, an outdoor stage -- and you, YOU--- EACH AND EVERY MEMBER OF THIS YEARS Phantom Regiment are 'players' in it!

"Phantom Regiment ---- You may take the field --- IS YOUR CORPS READY?" The time is now... make it count!

Best wishes Regiment --- go PHOR IT!

Trisha Longo / Pennsylvania

[kdaddy]

Coming off an amazing show and championship in 2008, I would think they would have attempted to find a way to follow up in 2009 with a bit of the awesomeness they had last year.

Here's my impression, and I have nothing but my screwy brain to back me up on this... I feel as though the PR designers wanted a "headier" show this year, and figured their championship would give them a little more credence to do such a thing. And in the end, it would probably work if drill and colorguard were up to snuff.

I don't agree with the suggestion that the repertoire needs to be more familiar. Folks have brought up 2006 and 2008 as examples of when music wasn't necessarily familiar, but the show still worked. And I'd add big chunks of 1993, 1995, 1996, 2002, 2003, and 2004 to that list - all of which may have placed higher than 2009 may. When I heard the entire show would be based on Paganini variations, I thought it would be a great concept. But the show is a bit dry. I'll enjoy listening, but it's not as exciting as what they've been offering since and including 2005, in my opinion.

As for drill and guard - some thoughts and questions. Is the guard design mediocre, or is it just being mediocre-ly performed? In other words, is it a talent issue or a design issue? If it's talent, then I think it's interesting that a championship year would not result in a higher level of guard talent. This could scare away candidates should PR decide to make a change there - "they won a title and STILL couldn't bring in guard talent." As for the drill writer, he's a PR alum, so I doubt the corps will be too quick to pull the trigger. It would seem to me that they are taking a significant step backward in drill design compared to Jamey Thompson, whose drill I'd be waiting years and years for (as I always thought it was the missing piece to PR). Also keep in mind that PR suffered for several years in the late 90s to essentially 2004 with weak (in my opinion) drill - they've demonstrated that they aren't quick to make a change in that area. Of course, the corps director has changed since then, though several key folks (who likely assist in the decisionmaking process) are still involved with the corps.

[bandbuck]

No one I know of has heard of "The Red Violin" ... or recognize the music.. The staff has messed up totally!

Wow, I feel bad that you haven't checked out this music yet. "The Red Violin" is an amazing movie, and the music has been performed by major orchestras around the world, along with incredible violinist Joshua Bell. I think it's great that Phantom would tackle this for a show theme!