N.E. Brigand Posted August 16, 2013 Share Posted August 16, 2013 I beg to differ. 1989 is perhaps the best drum line I have ever been associated with. It was not a weak line. I don't ever like to make excuses, but there was a judge that was biased. Someone Marty Hurley knew personally and they were mortal enemies. That line played really well that night and every night in '89. Love that show. I see that FromthePressbox notes that R. Goodheart had Phantom's percussion tied for second with Star in Prelims; R. Nicola had them tied for second with SCV in Semis; and M. D'Angelo put them in fifth for Finals. Had they tied for second in percussion yet again, they would have tied SCV for the championship. (My knowledge of percussion is entirely inadequate to judge the quality of that performance to so fine a degeree.) Quote Link to comment Share on other sites More sharing options...
foghorn1996 Posted August 16, 2013 Share Posted August 16, 2013 It's just not a good fit, and they need someone who will be able to bring in some talent. Who is available? I'd LOVE to see Erik Johnson with the pit, but he may never do anything outisde of cavaliers for corps. Erik Johnson would be an upgrade to anyone's design team, of course. He is the godfather of the modern DCI pit. That being said... Anyone who thinks the pit arranger at PR is the problem is out of their mind. Matt Jordan is an incredible arranger and those kids played their ###es off. Wouldn't change a thing there. Quote Link to comment Share on other sites More sharing options...
chaos001 Posted August 16, 2013 Share Posted August 16, 2013 Erik Johnson would be an upgrade to anyone's design team, of course. He is the godfather of the modern DCI pit. That being said... Anyone who thinks the pit arranger at PR is the problem is out of their mind. Matt Jordan is an incredible arranger and those kids played their ###es off. Wouldn't change a thing there. I agree. Plus, he's a disciple of Johnson. Just wish the pit's music wasn't the first thing cut during revisions. Nimrod was brilliantly written for the pit before half of it was cut out. Quote Link to comment Share on other sites More sharing options...
Fan Mom Posted August 16, 2013 Share Posted August 16, 2013 Anyone who thinks the pit arranger at PR is the problem is out of their mind. Matt Jordan is an incredible arranger and those kids played their ###es off. Wouldn't change a thing there. My thoughts exactly. Thank you. Quote Link to comment Share on other sites More sharing options...
Johnwooton Posted August 16, 2013 Share Posted August 16, 2013 No, it's just sour grapes. Honestly John, it isn't sour grapes. I'm too ###### old for that. Hurt feelings perhaps at one time. I had a hard time understanding why something personal between two adults effected a bunch of kids working their ### off. I think we had a pretty healthy attitude in that we did the best we could, we believed in what we were doing and that was satisfaction in itself. I really don't remember the last time I talked about this, but since it was brought up in this forum I thought I would shed some light on what I saw and heard. I am very proud of what we accomplished, not only in 89 but from 87 to 89. People still tell me today how much they enjoyed the 1989 Phantom Regiment. Thats enough. No sour grapes, just facts. I don't think winning drums or the overall would have made any difference in my life. I am not saying I wouldn't have enjoyed it, but win or lose, I would realize that even with the same criteria and the exact same performance, depending on the judging panel for that night, the placements could change. 3 Quote Link to comment Share on other sites More sharing options...
Johnwooton Posted August 16, 2013 Share Posted August 16, 2013 Erik Johnson would be an upgrade to anyone's design team, of course. He is the godfather of the modern DCI pit. That being said... Anyone who thinks the pit arranger at PR is the problem is out of their mind. Matt Jordan is an incredible arranger and those kids played their ###es off. Wouldn't change a thing there. Erik is wonderful. Some history here... I gave Erik his first job teaching corps as well as Mike McIntosh. I was the percussion designer and caption head for Emerald Knights in 1990 and I brought in Erik and Mike to help me tech the line. That was a pretty good drum line, btw. We did a Blues Brothers show and I had a blast that Summer. Erik was wrapping mallets for us and word got our how good he was and started wrapping mallets for his former corps, Cavaliers, and my former corps, PR. I told him he should start a business. The rest is history. Erik is incredible and Matt Jordan is an excellent musician and arranger. I liked a lot of the things Shane wrote too but it wasn't always my style. It was his style, and thats a beautiful thing. I thought the problem was there wasn't enough communication between the two of them when the book was being written. Nor between Shane and the drill writer. That is my impression, I don't know that for a fact. But listening to the show and working with their snare line for one afternoon, that is what I figured. Of course, if the battery and front ensemble writers were the same person this eliminates many problems. However, the drill writer and battery arranger will very seldom be the same person. So communication in necessary. I learned this by experience. After writing for Phantom in 87 I decided that I could fix a lot of headaches in the Summer if I knew the staging of the drum line within the drill before I wrote the show. You don't want to be playing unnecessarily difficult, and perhaps dysfunctional, parts while back field, etc... Quote Link to comment Share on other sites More sharing options...
Kamarag Posted August 16, 2013 Share Posted August 16, 2013 However, the drill writer and battery arranger will very seldom be the same person. So communication in necessary. I learned this by experience. After writing for Phantom in 87 I decided that I could fix a lot of headaches in the Summer if I knew the staging of the drum line within the drill before I wrote the show. You don't want to be playing unnecessarily difficult, and perhaps dysfunctional, parts while back field, etc... I think people underestimate just how important it is that your design team mesh well and have a well laid-out plan. I've seen both sides of this issue up close and personal. When it works, it's a beautiful thing. When it doesn't, it's hell on everyone, especially the teaching staff. 4 Quote Link to comment Share on other sites More sharing options...
Stu Posted August 16, 2013 Share Posted August 16, 2013 ... I don't think winning drums or the overall would have made any difference in my life. I am not saying I wouldn't have enjoyed it, but win or lose, I would realize that even with the same criteria and the exact same performance, depending on the judging panel for that night, the placements could change. It would be wonderful if many people who post on DCP would take what you just wrote here to heart and understand/accept the reality of subjective judging. While competition is an integral part of DCI, and winning gold is a part of the goals set (I mean if winning is not important then why keep score), but the activity itself is not an objective outcome sport it is a subjective outcome competition. DCI judges certainly are high quality in their experience and education, but they are only human and their scores are still just opinion; and as you pointed out, the human interaction can, and sometimes does, enter the equation. Fortunately, as far as I am aware, DCI has never had the pay-off fraud issue which tainted the Olympic Ice Skating a few years back, and thank the Almighty DCI does have judges with high integrity (i.e. Prosperie); but as long as humans are dishing out subjective scores within DCI human interaction will always be somewhat of an issue. Quote Link to comment Share on other sites More sharing options...
gbass598 Posted August 16, 2013 Share Posted August 16, 2013 Erik is wonderful. Some history here... I gave Erik his first job teaching corps as well as Mike McIntosh. I was the percussion designer and caption head for Emerald Knights in 1990 and I brought in Erik and Mike to help me tech the line. That was a pretty good drum line, btw. We did a Blues Brothers show and I had a blast that Summer. Erik was wrapping mallets for us and word got our how good he was and started wrapping mallets for his former corps, Cavaliers, and my former corps, PR. I told him he should start a business. The rest is history. I'm a huge fan of all of the IP products so I'm glad that company got rolling. As an education artist for them, I can't express how great they are to work with. 1 Quote Link to comment Share on other sites More sharing options...
Phantombari1 Posted August 16, 2013 Author Share Posted August 16, 2013 If any of these postings are true, i'd say that certain people have taken their jobs for granted and given the kids the shaft. Who would want to invest their money in a corp when some select people that expect the members to give it their all, don't do the same. Honestly if it were me, a might consider a move to another competitive corp. Don't people have to justify their paychecks anymore? (IMO) they should be paid for their results. Quote Link to comment Share on other sites More sharing options...
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