The Cadets - 2014

[longtimefan2014]

its funny , because all the drum corps so called purists should love cadets, wasnt drum corps founded or based on such things...didnt most corps play mostly patriotic songs, wasnt there a bulit in color pre back in the day...lol

Haha you're totally right, but (speaking just for me) I wouldn't consider myself a purist in that sense. I love the modern incarnation of competitive drum corps, the potential for spectacle and artistry is virtually limitless. And I like patriotism, just not unthinking patriotism that skews history in a really uncritical way by de-emphasizing really important questions. It's not an intellectual reaction, it's visceral. Art should challenge, unthinking patriotism doesn't.

[GUARDLING]

Going back to 1971, actually, when we did our "America, the Brave" Revolutionary War show, complete with printed libretto, a decade prior to Regiment:...written by DCP's own OnceUponaTime...

The Cadets of Garfield

present

America the Brave – 1776

The Cadets of Garfield are attempting to add an extra dimension to their routine this season through introduction of a story line based on America’s struggle for Independence – 1776. This is not an easy task, since the Cadets must work without the benefit of spoken dialogue, scenery, costumes or the special theatrical effects of the stage. Instead, the story line must be developed exclusively through choice of musical selections, sequence of presentation and coordination of drill and visual effects. In addition, they must somehow capture the imagination of their audience, and transport several thousand people back in time to another era. The period is 1776…thirteen proud, rebellious colonies, thirsting for collective identity and poised on the precipice of revolution.

As the Cadets assume their positions on the starting line they are divided into two separate segments. To the right the British Forces of King George (heavy horns), to the left the American Colonists (sopranos). Times are troubled, and Garfield’s story opens with the sound of drums and a burst of flags heralding the end of an era. Listen carefully for the prophetic tympani sounds of “LONDON BRIDGE’S FALLING DOWN” meshed into the percussion introduction. The British enter, then the Americans, and both sides combine to introduce the stirring theme of “YANKEE DOODLE”. This unity of purpose and presentation is not destined to endure though, and as the final notes of “Yankee Doodle” echo into the bleachers the two segments split, and with heavy hearts and questioning minds drift apart to the sad lament of “CHACONNE IN Eb.” For a second time drums command attention, as the simulated sight and sound of cannons with coordinated rifle drill transport us to Bunker Hill, and we witness the “Shots heard ‘round the world.” At this point even a deceptively light hearted social function becomes tinged with tension and challenge as the British “MINUET,” the Americans “HOEDOWN,” and “THE WORLD TURNS UPSIDE DOWN.” The die is cast…..Revolution!!!…..and events begin to move ever more compellingly towards their chilling climax. To the tune of “THIS CRUEL WAR” both sides move to opposing sides of the field. The Americans, executing “CHESTER,” drill and prepare for attack in the far right corner. The British meanwhile move to midfield to establish a sideline “CHRISTMAS EVE” encampment to a symbolic “SILENT NIGHT” carol medley in preparation for reenactment of the historical “Battle of Trenton.” “Chester” builds into a direct challenge, answered by the awesome power and majesty of “RULE BRITANNIA.” Both formations now break and expand as the two armies move towards each other, “AMERICA” and “RULE BRITANNIA“ ringing in our ears. Simulated infantry lines drop to their knees…fire…withdraw…reload…advance…fire again, until the battle banners clash head on, while the sound of drums crescendo into the dizzying, frightening, overwhelming sounds of battle. Once again the formation shifts, as the horns make their tumultuous contribution to the conflict. One by one brave men fall – a final cavalry charge – then silence…..

Faintly, a soft chorale of horns cries up from the battlefield, and the graves of heroes give birth to a new Nation. Free men stand for the first time as Americans, while a funeral dirge of drums echoes a final farewell to the past. A new nation celebrates the joy of self-discovery in concert with Ives’ “VARIATIONS ON AMERICA.” Subtly the concert formation shifts. “America” soars into the familiar and spine tingling “BATTLE HYMN OF THE REPUBLIC,” and the flags of two great Nations are presented in their most familiar context…emblems of peace. This completes our story, and as Garfield prepares to exit, the dreams of mankind for dignity, freedom and self-determination are given expression in John F. Kennedy’s moving musical memorial, “PROFILES IN COURAGE.” One final statement of theme and reminder of origin in “YANKEE DOODLE,” and the Cadets, preceded by the flags of Great Britain and America fluttering side by side in the breeze, cross the finish line

Imagine that show today WITHOUT yesterdays constraints.

[GUARDLING]

Haha you're totally right, but (speaking just for me) I wouldn't consider myself a purist in that sense. I love the modern incarnation of competitive drum corps, the potential for spectacle and artistry is virtually limitless. And I like patriotism, just not unthinking patriotism that skews history in a really uncritical way by de-emphasizing really important questions. It's not an intellectual reaction, it's visceral. Art should challenge, unthinking patriotism doesn't.

I think you can have all of it. One can choose a cheese wiz fest of throwing up red white and blue on the field and it could work and get people excited as well as a cadet show of today. Remember Stars americana show.. I loved it ( maybe I was alone )..lol

[MikeD]

Imagine that show today WITHOUT yesterdays constraints.

Would be awesome...

Pretty awesome design staff even then....DCP's Ironlips (Frank Dorittie) wrote the brass charts, George Tuthill an amazing percussion book, with the great Bobby Hoffman and Pete Emmons on drill/guard.

[GUARDLING]

Would be awesome...

Pretty awesome design staff even then....DCP's Ironlips (Frank Dorittie) wrote the brass charts, George Tuthill an amazing percussion book, with the great Bobby Hoffman and Pete Emmons on drill/guard.

would have been quite the spectacle for sure and would have challenged todays extravaganza's

[theCHEZman]

Nice Cadets! Marching is phenomenal. Now you have a few days to clean. (Percussion, we need you to lead now)..

[StuStu]

Unthinking patriotism? Only to the facile thinker.

The show is called “Promise”, a word which encompasses a view of the future. What is the promise of America? We see vignettes of history, but the show is not intended to be a per se history lesson. Instead, we get views of the American character as enunciated by past leaders. (They just as easily could have read quotes from Alexis de Toqueville, but I doubt that would have packed as much punch.)

If the show was all Sousa marches, then I might see the point. But they are playing the music of Aaron Copland, himself a figure of some controversy during his lifetime. Copland was among the nation’s intellectual elite, which led him to being pulled in front of Joe McCarthy’s House Un-American Activities Committee. “Lincoln Portrait” was pulled from Ike’s inaugural due to the red scare.

Setting aside the man, to my ears his music touches on the worth of the “common man”, the farmer, the laborer, the factory worker. (hmnn, perhaps some bits of >gasp< socialism lurking in there? I don’t know about you, but I know I sense it ...)

Perhaps the idea of this show isn't just to wave the flag. Maybe we ARE being challenged (in the midst of an extremely fractured political landscape) to remember exactly what it means to be an American. How do we fulfill this promise in the future? Should we move forward based upon individual achievement or collective action? How do we balance the two? Who are the winners and who are the losers?

The answers remain elusive. But in the end we are called to remember that the American Promise is indeed grand, and one we are charged to fulfill.

[longtimefan2014]

Unthinking patriotism? Only to the facile thinker.

The show is called “Promise”, a word which encompasses a view of the future. What is the promise of America? We see vignettes of history, but the show is not intended to be a per se history lesson. Instead, we get views of the American character as enunciated by past leaders. (They just as easily could have read quotes from Alexis de Toqueville, but I doubt that would have packed as much punch.)

If the show was all Sousa marches, then I might see the point. But they are playing the music of Aaron Copland, himself a figure of some controversy during his lifetime. Copland was among the nation’s intellectual elite, which led him to being pulled in front of Joe McCarthy’s House Un-American Activities Committee. “Lincoln Portrait” was pulled from Ike’s inaugural due to the red scare.

Setting aside the man, to my ears his music touches on the worth of the “common man”, the farmer, the laborer, the factory worker. (hmnn, perhaps some bits of >gasp< socialism lurking in there? I don’t know about you, but I know I sense it ...)

Perhaps the idea of this show isn't just to wave the flag. Maybe we ARE being challenged (in the midst of an extremely fractured political landscape) to remember exactly what it means to be an American. How do we fulfill this promise in the future? Should we move forward based upon individual achievement or collective action? How do we balance the two? Who are the winners and who are the losers?

The answers remain elusive. But in the end we are called to remember that the American Promise is indeed grand, and one we are charged to fulfill.

Even granting everything you've conjectured, this is in the end a tenuous defense of the show's artistic merit. While the title, music, and other elements point to potentially challenging material, the show is driven by the way these ingredients contextualize the presidential quotations which are literally front and center, and conversely from the way the quotations inform our perception of the music, drill, and visuals. Given these design decisions, it is a curious review which understates this show's borderline-worshipful framing of past presidents' famous words.

If the intent is a challenge to define the promise of America today, then the show misfires, in no small part due to its under-appreciating the deep politicization of conflict implicit in the presidents' quotes. The wartime (or Cold War) invocations of Lincoln, FDR, and Kennedy were grounded in the political and military concerns of the day, and these invocations often implied a foil for the American in an other. Are these truly grounds for defining what it means to be American? Should the promise of America be understood today against this foil? To me, this concept of Americanism, if unchallenged, is deeply concerning. Perhaps this framework could make for a nuanced exploration of Americanism, but can this show be credited with so much?

The questions you raise are indeed pressing, but it is far from clear to me whether and how they cut through the show's rather different and problematic emphasis. I repeat: art is defined by what we choose to emphasize.

Again: the show execution is top-notch and, I believe the corps' performances in Indianapolis will deservedly impress.

Edited August 5, 2014 by longtimefan2014

[skevinp]

Unthinking patriotism? Only to the facile thinker.

The show is called “Promise”, a word which encompasses a view of the future. What is the promise of America? We see vignettes of history, but the show is not intended to be a per se history lesson. Instead, we get views of the American character as enunciated by past leaders. (They just as easily could have read quotes from Alexis de Toqueville, but I doubt that would have packed as much punch.)

If the show was all Sousa marches, then I might see the point. But they are playing the music of Aaron Copland, himself a figure of some controversy during his lifetime. Copland was among the nation’s intellectual elite, which led him to being pulled in front of Joe McCarthy’s House Un-American Activities Committee. “Lincoln Portrait” was pulled from Ike’s inaugural due to the red scare.

Setting aside the man, to my ears his music touches on the worth of the “common man”, the farmer, the laborer, the factory worker. (hmnn, perhaps some bits of >gasp< socialism lurking in there? I don’t know about you, but I know I sense it ...)

Perhaps the idea of this show isn't just to wave the flag. Maybe we ARE being challenged (in the midst of an extremely fractured political landscape) to remember exactly what it means to be an American. How do we fulfill this promise in the future? Should we move forward based upon individual achievement or collective action? How do we balance the two? Who are the winners and who are the losers?

The answers remain elusive. But in the end we are called to remember that the American Promise is indeed grand, and one we are charged to fulfill.

Interesting post. I also sense that the show is more about us as citizens and the common challenges we have faced in the past, face today and will face tomorrow. I don't see the presidents as being worshipped here, merely their words being provided as representative of the times and for inspiration and perspective that might be applied to to our own circumstances. The quotes have never seemed like magic to me, in fact they seem like the sort of words any of us might have chosen if we were put in those positions ourselves. To me, they are more memorable for our ability to relate to them at the time and come together as a nation when it was essential to do so.

One minor clarification: HUAC wasn't McCarthy's committee. McCarthy was a Senator.

[brichtimp]

The quotes are reminders of some of the reality of those times that challenged our nation and required effective communication from the President to set a course and an attitude.