DCP DCI Round Table Discussion

[bluecoats88]

Well, how many more colors are available now that weren't just a few years ago?

Perhaps it's the arranging conventions Thrower uses that pushes the years together for me lately . . .but there's a lot of Daughtery/Mackey/Hazo over the past few years, IIRC.

Most of 2010, 2008 and parts of 2006 are notable exceptions.

Anyway, the point is that there's a lot of the jazz genre (even with what you've listed) left to explore: African stuff, modal, fusion . . .even stuff loosely connected like ska-jazz and funk. With electronics in the mix, there's a ton of places to go.

True, and based on their past I'm sure they will probably hit on some of those in the future. They always seem to have periods and right now they are in that period you classified. When I drove to allentown this year I did a Bluecoats through the years on my ipod and listened to just bluecoats shows in cronological order. as you go through them each couple years or so they had a different identity. So I wouldn't be surprised if they moved onto some of those other flavors of jazz in the future.

[supersop]

Bump .... maybe this should be pinned? Let's keep it on the 1st page for as long as we can DCP!!!!!!

[Jeff Ream]

1. What do you think about the music being played?

For the most part, there's something for everyone. However, some of it does get lost in translation when there's too much of an attempt by the arranger to put their stamp onto things. It's my preference that the source material speak for itself, which most people are content to do. Jim Prime, Jay Bocook and Michael Klesch are good examples of that style of writing.

Pretty much anything under the sun can be considered as a repertoire choice now . . .so, let's see a bit more variety. Not that I'm really complaining here, but let's move some corps out of their safe zones:

-Bluecoats, move out of relying a lot on "wind ensemble jazz" pieces and experiment a bit. Doesn't mean you have to become BD-Midwest, but there's a lot of jazz genres overlooked in drum corps right now. Bop, acid jazz (can you imagine a preshow of "Cool Like Dat"?), big band. . . .tons of stuff to do.

-Crown, don't be afraid to tackle something never put on the field before, like Gorecki, Bruckner or even Schnittke. You have the guns to make it work. 2010 was a good start, but the "Promise of Living" tag at the end of the season was a bit cloying.

-Regiment, see Crown. Don't go for the safety of something you saw a BOA band do a decade ago. If you really want to be classical innovators, then grab the bull by the horns and use Rosander for something amazing: Berlioz . . .or Stravinsky . . .maybe an entire Rite of Spring show, complete with ballet. Something that balances the old school in-your-face with some possible new interpretations on the construction of your brass book.

There are others, but for the sake of space, those are first three examples that come to mind.

Again, though, there's some decent variety already . . .we seem to have moved away from "flavor of the year" that led to a lot of Holsinger/Hazo/Daughtery selections for the most part. Let's keep it that way.

2. What do you think about visuals?

Visually, we have to stop trying to be WGI-Summer. There's way too much of a reliance of "pods" now, and little to no coalescence into major forms without relying on "box/rotate/yard line/pods/spread field/repeat in reverse."

I could care less about mirrors, thrones or other stuff (as those are riffs on WGI productions as well), but there has to be more big-picture stuff.

Surely everyone can't still be scared of Michael Gaines; he seems to be one of the few (along with Sacktig) that are really using drill to communicate musically as well as visually. Stop being afraid of curvilinear drill, folks! Your marchers are too talented to waste on yardline to box to slant box moves.

Example: BK this year. Hell of a horn book, but the visual just laid there . . .a lot of time in block formations that went hardly anywhere. BK's drill in 1994 was more exciting in several places.

3. How can we grow the activity?

More regional presence; less worry about national touring. If we're going to say that certain groups are "the draw", then let them handle touring the country and the other corps can do what "fits" to make their bottom lines sustainable.

Open class needs to be able to compete with World Class and quit being the ######## stepchild of DCI, as that's where the growth in the activity comes from, not from the stagnant BD/Cavaliers/Cadets stranglehold on the top. If BD-B can make World Class semis or Finals one year, then they should be allowed to. I don't care if Open class directors did vote themselves to be "separate, but equal", I think that's shooting the entire circuit in the foot.

Like any strong tree (or horn line), growth comes from the bottom up. More folks starting more corps . . .even if they're just parade corps . . .means more fans and members down the line. Let the G-whoever be the pitchmen for the national face of the activity, but make sure that people know that drum corps can run the gamut of age and experience levels. . . .from parade, to touring, to all-age to alumni.

4. What is the purpose of drum corps?

That depends entirely on what level of the activity you focus on. Regarding junior drum corps, for the most part . . .it's a way to experience the height of excellence in a marching arts setting. Secondary to that are all the valuable people, time-management, teamwork and other skills you pick up along the way.

Additionally, it's also a chance to participate in a uniquely American art form, one that is, indeed, separate from the marching band milieu, and to be part of something that has a great deal of storied (and celebrated) history and excellence at its World War I roots.

5. What do you think about electronics?

They're here to stay, but they need to be managed effectively in order to create the proper balance in the ensemble and/or design. At their best, it's a way to embellish the presentation of the design; at their worst, it's a creative crutch that can overpower. Let's not forget the reason we all go to see corps perform: brass, percussion, spinning. Not bass synth or overloading on corny effects.

6. Should we / how can we make drum corps more inclusive to minorities and impoverished?

This has to start at a community level: drumming classes in inner cities, no-charge instrument lessons as well. For example: use a weekend and take some of your best kids in BD, Cadets, Cavaliers and send them to local/poorer schools or community centers in Oakland, Philadelphia and Chicago. Let them teach some classes to kids every other camp weekend instead of being there, and let them pay less in dues for what they're doing.

Invite kids to camps from local schools, churches and elsewhere in the community to see what drum corps is all about. You don't have to go far outside of Fort Mill to find poorer or less-advantaged kids, nor would you have to go far to do the same for any other corps.

Finally, celebrate the programs that do make it work. Spirit of Newark is one example . . .and there could be several more like that if we just focus less on the glitz of "top whatever" and realize that for every kid that joins BD/Cavaliers straight out of a BOA-caliber band, perhaps there's just as much value in the kid who joins an Open class corps, doesn't win, but learns how to be a better individual in the process.

7. How do you feel about the "G7" proposal?

Considering the first draft of it was little more than a naked power grab, I didn't care for it. As it's morphed into the "World Series of Drum Corps" thing, it's well and good if seven or eight corps want to step outside of DCI to do their thing. I'd probably go see it if it came nearby.

However, I don't think any corps, no matter how successful you are, is above any other in the DCI hierarchy as it stands now. Everyone deserves a seat at the table, no matter what kind of program you have. Perhaps the director of Blue Saints has a perspective on smaller markets that David Gibbs might not; perhaps Forte knows something regarding recruiting or fund-raising in Texas that the Crossmen don't. Seven corps that make more money and have more recent competitive success than others might be doing some things right, but they're not infallible.

If some (or all) of these groups end up leaving DCI, that's fine . . .DCI will survive, provided that the basic "fraternity" mindset is kept by the remaining groups.

can I nominate you for the BOD?

[bawker]

can I nominate you for the BOD?

LOL.

. . .only if you want all the other directors to quit.

[Jeff Ream]

LOL.

. . .only if you want all the other directors to quit.

I dont think all. I can picture 16 staying around

[supersop]

can I nominate you for the BOD?

I never get nominated

[thirdcoast]

Bump .... maybe this should be pinned? Let's keep it on the 1st page for as long as we can DCP!!!!!!

I kinda like the new questions. Makes for a very good read.

[silvertrombone]

Some great points/comments. And I agree with recent posters...the new/additional questions are good and deserve attention as well. Keep it up.

@Boo...DCP IS a forum for discussion. This just brings a few major points front and center in one place as others suggested. I am just the messenger.

<Grant money galore abounds for the groups that "adopt" a metro area's disadvantaged youth and open up drum corps to them. Where is the grant money? >

I'm confused - if Grant money abounds, YOU point drum corps toward it -

imo, Grant money is very scarce these days...and it comes with not only strings, but veritable steel cables attached that are so limiting, so tough to work with, it's not worth the time, effort, frustration, and ultimately, the expense (yes...it costs BIG money to fulfill your grant) of seeking out what money there is -

Of course - I'll be VERY happy to be schooled out of my ignorance -

If your focus is a Championship every third year, then there probably isn't any grant money for that. USSBA, BINGO and the generosity of your host city are your best friend. If you don't mind recruiting 20 inner-city black / Latino members then the money is there.

An organizations mission should determine whether or not they should go after grants funding. More often than not, I find what you're saying is more the truth. The constant search for funding drives the mission. An organization eventually loses their way.

Again...rings? Or community service? While I suppose the two don't HAVE to be mutually exclusive, we haven't seen them wed together in DCI in a generation.

3. How can we grow the activity?

Target the most important demographic - young people, including minority populations.

6. Should we / how can we make drum corps more inclusive to minorities and impoverished?

Scholarships, LOTS of them, to make drum corps more affordable. DCI should have a scholarship

fund solely for this purpose. Lots of donors would support this and many grants would be

available.

Right on. On both points.

To get some clarifcation on the opening post, when was the entirety (or even majority) of drum corps all about keeping street kids out of trouble? When did this end?

Before I became involved in drum corps. Someone else confirmed that in their reply.

BD sucks, though. It's not awesome marching band like Madison 2010.

Bitter, table of one?

[supersop]

Bitter, table of one?

I think the bitter part was entirely tongue in cheek. Ultimate sarcasm if you will.

[Jeff Ream]

I never get nominated

i like his ideas better