Wow, no one wants to discuss VANGUARD?

[bkbass98]

1 hour ago, jwillis35 said:

I am not sure what the real story is but I know they had to pay a boatload of cash to get the rights to arrange and the mechanical license for the DCI recordings. Keep in mind that Phantom had only just hit Broadway in 1986 or 1987, so for SCV to be doing a full show on that musical was almost unheard of at that time. Given the money they likely spent, if I was Gail Royer I would have opted to do a second year of Phantom just to get my money worth. Of course both are great shows though I was more partial to the 1988 version. This is likely due to having seen it live and just being overwhelmed by the music. That first impression always stays with you. 

Not disputing anything you’re saying as far as the financial impact of getting the rights back then. But also, it’s worth noting that SCV doing “repeats” was pretty standard stuff back then.

-On the Town, 83-84

-Festive Overture, 85-86

-Picture at an Exhibition, 86-87

 

Phantom in 88 was actually the first clean break from a previous year’s show in like 7-8 years. It’s also to the best of my knowledge the first time SCV did a themed show “program” start to finish (even though 86 and 87 have clear themes). So maybe then returning to the source material was as much in keeping with their MO of the time, it’s just that in this case the source material was all from the same show. (Also worth noting there are subtle programming changes to the music used from 88 to 89)

[jwillis35]

16 minutes ago, bkbass98 said:

Not disputing anything you’re saying as far as the financial impact of getting the rights back then. But also, it’s worth noting that SCV doing “repeats” was pretty standard stuff back then.

-On the Town, 83-84

-Festive Overture, 85-86

-Picture at an Exhibition, 86-87

No doubt. The 86 and 87 shows definitely had that Russian theme along with repeats of music from numerous years. It was a different time too. That was normal with many corps. BD often brought back music from one year to the next. Phantom Regiment did Spartacus in 1981 and 1982. But yes, I was mostly speaking about the cost for getting the rights to do Phantom of the Opera. But who knows...maybe the management and legal team at Phantom of the Opera was like "hey, we're making buckets of cash. No deal needed. Just go play our music and give us credit." 🙂 I have a feeling, however, it was not that easy. 

[MikeN]

I started watching DCI in '89, so I grew up watching the opera/musical era of the corps.  To me that's just who they were.  Them switching back to classical in '96 was kind of a brain jump for me, and then going back and hearing the earlier 80's stuff feels like listening to a different group sometimes.  

Personal funny story - my kiddo was a DCI conductor in 2017 and 2018 and a hardcore drum corps addict.  I got them to sit down and watch 2001 Vanguard with me (New Era... New Era...) and all they could talk about was how *slow* everyone was marching back then.  Definitely made me o_O - I still don't see it, which means I'm probably too old to!

Mike

[GBugler]

Watching '97 now. The phrase leading into the final company front gets me. Every. Time.

[Grandpa Joe]

14 minutes ago, Mega said:

I was merely answering the topic question. I am entitled to my opinion so you can sit back down.

You can have your opinion, but we can also tell you how wrong it is. Being told that SCV isn't relevant during CHAMPIONSHIP week because they're not competing this season is really dumb considering they've won 7 CHAMPIONSHIPS since the inception of DCI. So how about you sit back down and stop telling people what we should and shouldn't be discussing? I'm sure there's several seats in the back of the room.

[billj]

3 hours ago, HockeyDad said:

Groundbreaking. And a bit….. harsh on the ears. (Sorry). I do understand that in the context of the era that’s what everyone did. Well, except Ms. Opie’s horn line from Kansas. Talk about groundbreaking!  But I digress. Sorry again. Twice in one post. 

Perfectly said, I feel that 80 was where the harshness was mostly gone, especially in the top 12. Pre 80, most corps still had some harshness, not that I haven't enjoyed listening to recordings many times in the past. But more recently, I'm not interested in listening to pre 80 other than for some quick nostalgia (Kilties, for example). But I can still watch and listen to the top 12 from 80 with great joy. That was such a great year. 

[kdaddy]

1 hour ago, GBugler said:

Watching '97 now. The phrase leading into the final company front gets me. Every. Time.

On a different note, Rosander was a master at inserting follow-the-leader at the right moments. There's a great example of a segmented follow-the-leader in that show that was brilliant. 

[kdaddy]

And since we're remembering SCV, I effing love every bit of this clip from last year ❤️

 

Edited August 9, 2023 by kdaddy

[denverjohn]

1971. (Especially that soprano soloist kid from Long Island named Wayne.)

[bkbass98]

1 hour ago, kdaddy said:

On a different note, Rosander was a master at inserting follow-the-leader at the right moments. There's a great example of a segmented follow-the-leader in that show that was brilliant. 

The segmented FTL I remember most is the add-on towards the end of Canyon in 99.  It's after the brass trios section where it all crescendos to the high point of the opener.  That's the one that I always think of when I think of Myron's drill.  The thing is, he was so lyrical at how he wrote motion on the field, he could make forms turn into a FTL type motion for 2 bars and then right into another motif.  Absolutely mesmerizing. 

The one in 97 I remember the most is right at the first big full corps impact phrase in On the Waterfront (you all know how it goes).  That was just a full corps haul-arse type FTL but it was bloody brilliant.  Side note: that's also, for me personally, the first time I ever remember hearing a timed "VANGUARD" from members in the crowd.  Heard it again in 98 somewhere in the opener a little more prominently.  And then of course the halt/crescendo moment in the 99 opener when the whole stadium yells is where it officially became a "thing."  Maybe it predates that time that I've just never caught on to, but that's something I remember that grew out of those 3 years.

But yeah, back to the point, there were some insanely gifted visual designers back in that time (tip of the cap, Messrs. Sacktig, Sylvester, Gaines).  But just short of George Zingali, the guy who's work was just always instantly recognizable as his own the most to me was Myron Rosander.  Two geniuses gone far too soon.