The best field and floor of the 21st century
Tuesday, October 27, 2009 in Pageantry | Permalink | Comments (0) | TrackBack (0)
The future of the evolution
There is a pivotal line, and sentiment, in Luchino Visconti’s sumptuous 1963 romantic adventure, “The Leopard”; a line that serves as both preface and punctuation to the story of a dying aristocracy and the corresponding rise to eminence of a new regime: “If we want things to stay as they are, things will have to change.”
And so it is on both field and floor; always has been really. The dying aristocracy is the notion of “doing it for the kids,” community-based, scraping by day to day and season to season. It is also the rather quaint notion that evolution in pageantry – an evolution that is both creative and operational -- should stall at some point in time; that point when we each fell for it.
The rise of the new regime is certainly a creative one; one that dreams of new vistas. But new vistas take new visions, and both are predicated on leadership.
Say what you will, but the leadership of pageantry remains virtually the same as it was when it was conceived in the current operating model; if not actually, in deference.
Plus, the always-at-play struggle between creativity and operational reality still sways creative, every time. New, financially sustaining non-profit operating models must be envisioned, installed, and implemented without deference, virtually across the board.
Professional, business and philanthropic heads must prevail, lest the draw of units on fields literally dissipates, and the motivation on floors to build independent units and organizations disappear.
It’s an interesting thing, that non-profit business model: it works best in transparency and when the greatest good looks to sustain the “least among us.” The current top-down approach will continue to work day by day, and season to season, until the well of growth below is simply gone.
Evolution shows that approach garners dinosaurs.
And so it is on both field and floor; always has been really. The dying aristocracy is the notion of “doing it for the kids,” community-based, scraping by day to day and season to season. It is also the rather quaint notion that evolution in pageantry – an evolution that is both creative and operational -- should stall at some point in time; that point when we each fell for it.
The rise of the new regime is certainly a creative one; one that dreams of new vistas. But new vistas take new visions, and both are predicated on leadership.
Say what you will, but the leadership of pageantry remains virtually the same as it was when it was conceived in the current operating model; if not actually, in deference.
Plus, the always-at-play struggle between creativity and operational reality still sways creative, every time. New, financially sustaining non-profit operating models must be envisioned, installed, and implemented without deference, virtually across the board.
Professional, business and philanthropic heads must prevail, lest the draw of units on fields literally dissipates, and the motivation on floors to build independent units and organizations disappear.
It’s an interesting thing, that non-profit business model: it works best in transparency and when the greatest good looks to sustain the “least among us.” The current top-down approach will continue to work day by day, and season to season, until the well of growth below is simply gone.
Evolution shows that approach garners dinosaurs.
Monday, November 09, 2009 in Pageantry | Permalink | Comments (0) | TrackBack (0)
Field&Floor's Top 5 drum corps shows of the 21st Century
5. The Cadets, 2000, “We Are the Future”
I’ve already confided that I had to “grow” into The Bridgemen; so also I had to grow into “Millennium Celebration.” Full disclosure: I was so swept away by “Niagara Falls” that I think I refused to let this show break through for me.
No more. The only way to tell this, is to recount what happened to me, one quiet Saturday afternoon, when I needed a little drum corps. I am still not sure why I queued up this show; maybe to give it another chance. *Shrug*
But queue it, I did, and to unforgettable result. This show is something of a master class of layering; the effects start off strong, but it is the cumulative impact that leaves its mark.
Honestly, at eight minutes in I was sold; at ten I was rubble in its wake. This-here Cadets’ show delivers on the promise of the future!
4. Blue Devils, 2007, “Winged Victory”
For all of the shows, for all of the performances, for all of the marching music, and for all of the celebration swirling around Drum Corps International’s 35th anniversary, it was "Winged Victory" that encapsulated, almost documentary style, the three and a half decades, the activity, and where we go from this moment forward.
For years, the Blue Devils have been called drum corps' deadliest performers in the clutch; this overwhelming achievement reinforced it. Concord's history is bullet-pointed with caption victories in every single area of judging, but as this year's championship show illustrated, the Devils are their best when the corps is the sum of its parts.
Head-shaking disbelief at the performed excellence notwithstanding, by season's end, this was the head-nodding victor.
3. Phantom Regiment, 2008, “Spartacus”
For starters, while every fan with any vintage palpated over Phantom Regiment's revisiting "Spartacus" -- real music, remember the drama -- only Rockford's crew had the vision to turn a scored performance into activity-wide acclaim, with lethal timing for the rest of the competitive field.
Taking a shell game programming tact, the design and production staff teased, taunted, and trickled out expanding plot, effect -- indeed mis' en scene -- for six weeks. Blockbuster perceptions grew, as did scores, until ... Allentown.
The "Roman armies" and their abjectly-abused "slaves" retreated into the trenches for four days, planning their final battle of the summer war. They came out fighting.
With music and percussion well in hand, Phantom had found the heart-pounding essence of the colossal tale, and then became subservient to its power. The effects overwhelmed; the scores soared. "I ... AM ... SPARTACUS" became the narrative message of the year, not to mention the most spoken line in Bloomington all week.
Slavish fan adoration became lightning-rod exhilaration at every turn. Regiment responded. The drum and bugle corps activity prevailed!
2. Cavaliers, 2002, “Frameworks”
Domination. State-of-the-art. Undefeated. Standard-setting. We have used all of these words throughout the history of the drum and bugle corps activity. But it has been a while since we have had the opportunity to use all of them together, in one year, and about one unit.
The numbers in the final score do not matter. What does matter is that the Cavaliers showed us all where the activity is headed, definitively.
The standard bearer of the show was the breathtaking quality of performance that oozed from each corps member, and so from the corps battery. If that was a precursor to the next few years in drum and bugle corps, we are all in for a mighty good time!
1. Blue Devils, 2009, “1930”
The freshest ideas on the field were the oldest, 79 years old in fact; the Blue Devils’ lavish vaudevillian variety card of tunes from 1930 melded the traditional drum corps idiom and the corps’ own history of performance with an extravagant use of electronics.
In addition to putting on simply a great show of talent, songs, and pure entertainment; the inclusion of the piano, especially in the final movement, came as close to “breaking the fourth wall” between performers and spectators as this activity has ever experienced. It was bold, brash, and brass (show) business. It was also inventive beyond measure.
The marvel of doubling the corps’ size, and visual opportunities, with stark white chairs was a godsend. The eye-popping and freakishly talented color guard amazed and delighted at every turn, in each act, whether as period character or at its base equipment handling best. Fresh, new, ground-breaking -- “old”; “1930” was the dance derby of the decade!
I’ve already confided that I had to “grow” into The Bridgemen; so also I had to grow into “Millennium Celebration.” Full disclosure: I was so swept away by “Niagara Falls” that I think I refused to let this show break through for me.
No more. The only way to tell this, is to recount what happened to me, one quiet Saturday afternoon, when I needed a little drum corps. I am still not sure why I queued up this show; maybe to give it another chance. *Shrug*
But queue it, I did, and to unforgettable result. This show is something of a master class of layering; the effects start off strong, but it is the cumulative impact that leaves its mark.
Honestly, at eight minutes in I was sold; at ten I was rubble in its wake. This-here Cadets’ show delivers on the promise of the future!
4. Blue Devils, 2007, “Winged Victory”
For all of the shows, for all of the performances, for all of the marching music, and for all of the celebration swirling around Drum Corps International’s 35th anniversary, it was "Winged Victory" that encapsulated, almost documentary style, the three and a half decades, the activity, and where we go from this moment forward.
For years, the Blue Devils have been called drum corps' deadliest performers in the clutch; this overwhelming achievement reinforced it. Concord's history is bullet-pointed with caption victories in every single area of judging, but as this year's championship show illustrated, the Devils are their best when the corps is the sum of its parts.
Head-shaking disbelief at the performed excellence notwithstanding, by season's end, this was the head-nodding victor.
3. Phantom Regiment, 2008, “Spartacus”
For starters, while every fan with any vintage palpated over Phantom Regiment's revisiting "Spartacus" -- real music, remember the drama -- only Rockford's crew had the vision to turn a scored performance into activity-wide acclaim, with lethal timing for the rest of the competitive field.
Taking a shell game programming tact, the design and production staff teased, taunted, and trickled out expanding plot, effect -- indeed mis' en scene -- for six weeks. Blockbuster perceptions grew, as did scores, until ... Allentown.
The "Roman armies" and their abjectly-abused "slaves" retreated into the trenches for four days, planning their final battle of the summer war. They came out fighting.
With music and percussion well in hand, Phantom had found the heart-pounding essence of the colossal tale, and then became subservient to its power. The effects overwhelmed; the scores soared. "I ... AM ... SPARTACUS" became the narrative message of the year, not to mention the most spoken line in Bloomington all week.
Slavish fan adoration became lightning-rod exhilaration at every turn. Regiment responded. The drum and bugle corps activity prevailed!
2. Cavaliers, 2002, “Frameworks”
Domination. State-of-the-art. Undefeated. Standard-setting. We have used all of these words throughout the history of the drum and bugle corps activity. But it has been a while since we have had the opportunity to use all of them together, in one year, and about one unit.
The numbers in the final score do not matter. What does matter is that the Cavaliers showed us all where the activity is headed, definitively.
The standard bearer of the show was the breathtaking quality of performance that oozed from each corps member, and so from the corps battery. If that was a precursor to the next few years in drum and bugle corps, we are all in for a mighty good time!
1. Blue Devils, 2009, “1930”
The freshest ideas on the field were the oldest, 79 years old in fact; the Blue Devils’ lavish vaudevillian variety card of tunes from 1930 melded the traditional drum corps idiom and the corps’ own history of performance with an extravagant use of electronics.
In addition to putting on simply a great show of talent, songs, and pure entertainment; the inclusion of the piano, especially in the final movement, came as close to “breaking the fourth wall” between performers and spectators as this activity has ever experienced. It was bold, brash, and brass (show) business. It was also inventive beyond measure.
The marvel of doubling the corps’ size, and visual opportunities, with stark white chairs was a godsend. The eye-popping and freakishly talented color guard amazed and delighted at every turn, in each act, whether as period character or at its base equipment handling best. Fresh, new, ground-breaking -- “old”; “1930” was the dance derby of the decade!
Sunday, November 08, 2009 in Pageantry | Permalink | Comments (0) | TrackBack (0)
Field&Floor's 30 best drum corps shows of the 21st century: 10-6
10. The Cadets, 2005, “The Zone”
When The Cadets are good, and this edition of the corps was precisely wonderful, the spit and polish that is the pride of the longest-running organization in the industry shines.
What lifted "The Zone" was its use of current popular music. When all the marketing emphasis coming from the corps is directed at the 16-21 year-old market, it was about time for the likes of "Kill Bill" and Bjork to make the leap to brass and percussion.
"The Zone" showcased championship performances from every caption and to a truly contemporary soundtrack.
9. Phantom Regiment, 2005, “Rhapsody”
Genuine, idiom-shifting innovation is more difficult than it is posed each year. Organizations and designers posture creativity and innovation season after season, but the reality of me-too-ism in design and performance standards renders the activity more evolutionary than revolutionary. So the groundbreaking ecstasy that was Phantom Regiment felt doubly sweet.
The always potent talent was presented both music and visuals that were fresh and historic, contemporary and pure Regiment in feel. With the cinematic reach of a Hollywood blockbuster, "Rhapsody" ended its season more like a premiere, with its 135 members channeling "a cast of thousands" to the sheer delight of viewers everywhere.
For the record, the blending of George Gershwin's "Rhapsody in Blue" and "American in Paris" was seamless, turning two of the composer's masterpieces into an audio masterwork for brass and percussion.
The exuberant visual canvas sugggested Piogete and Minelli, American swagger and Parisienne' elan', the Folles Bergere and a classic drum corps show. Marching, body-positioning, guard work, and those miraculous costume changes were thrilling.
Factor in the "guest starring" performance of John Owen as a Gene Kelly type, and "Rhapsody" became a drum corps summer blockbuster breakout hit!
8. Santa Clara Vanguard, 2009, “Ballet for Martha”
The Santa Clara Vanguard presented the show of the year. Decadent in its design gall, pristine in its nuanced performance, for all of the words used to describe “Ballet for Martha” -- restraint, control, class, vintage Vanguard -- this decisive decision was the balls-iest of the decade!
The arranger dared idiomatic convention by leaving the major sections in their original mezzo-forte form. The visual writer defied usual answers to movement questions by suggesting spring as a constantly morphing and budding blossom. The choreographer acquiesced to the spotlight often, allowing the color guard to support and surround before the highlighted dance movements overwhelmed. The percussion arranger delved into stacks of unused material for the delicious “drum break,” thus suspending obvious musical payoff one more minute.
For all the reasons that this ten-minute tone poem urged quiet venues (they were many, often, and sumptuous), the luxuriant and expansive “Simple Gifts” finale demanded ovation. And it received sustained standing salutes every night of the season.
7. Boston Crusaders, 2000, “RED”
Talk about your spectacle! Boston made it into finals just before the turn the century, and then ushered it in with this sensory overload of marching music.
The translation of “Bolero” to the field was definitional, and by the time the larger-than-life ballad “Time to Say Goodbye” had enveloped the audience, there would be no looking back.
But do take a look back at this drum corps classic: you’ll be seeing “RED” all over again for the first time.
6. Carolina Crown, 2009, “The Grass is Always Greener”
Carolina Crown’s entire concept and presentation was fence-straddling of a sort: “The Grass is Always Greener” was a drum corps specialty show as performance art. Initial viewings conjured memories of Sky Ryders’ “Wizard of Oz” – naturally, even its’ “West Side Story;” Cadets’ “Les Miserables”: and certainly Santa Clara Vanguard’s “Fiddler on the Roof,” “Carmen,” “Miss Saigon,” as well as its pinnacle “Phantom of the Opera.”
There is taste, constraint, and sophistication infused in every splendid detail and nuance. To be clear, this show is a reflection of the sum of its quality parts, but the actual story-telling imbedded into the drill is something of a miracle.
But in the retrospect of the season-long process during which every show morphs, is formed, and then reformed; where this newest, greenest star in the activity excelled was in the intelligence with which the audience was treated. The best fantasy rests in our minds, not in explication. By offering a world of capricious characters in the glorious rainbow of monochrome, I was able to write the story I needed every time the show was performed. Now that’s some more confidence.
When The Cadets are good, and this edition of the corps was precisely wonderful, the spit and polish that is the pride of the longest-running organization in the industry shines.
What lifted "The Zone" was its use of current popular music. When all the marketing emphasis coming from the corps is directed at the 16-21 year-old market, it was about time for the likes of "Kill Bill" and Bjork to make the leap to brass and percussion.
"The Zone" showcased championship performances from every caption and to a truly contemporary soundtrack.
9. Phantom Regiment, 2005, “Rhapsody”
Genuine, idiom-shifting innovation is more difficult than it is posed each year. Organizations and designers posture creativity and innovation season after season, but the reality of me-too-ism in design and performance standards renders the activity more evolutionary than revolutionary. So the groundbreaking ecstasy that was Phantom Regiment felt doubly sweet.
The always potent talent was presented both music and visuals that were fresh and historic, contemporary and pure Regiment in feel. With the cinematic reach of a Hollywood blockbuster, "Rhapsody" ended its season more like a premiere, with its 135 members channeling "a cast of thousands" to the sheer delight of viewers everywhere.
For the record, the blending of George Gershwin's "Rhapsody in Blue" and "American in Paris" was seamless, turning two of the composer's masterpieces into an audio masterwork for brass and percussion.
The exuberant visual canvas sugggested Piogete and Minelli, American swagger and Parisienne' elan', the Folles Bergere and a classic drum corps show. Marching, body-positioning, guard work, and those miraculous costume changes were thrilling.
Factor in the "guest starring" performance of John Owen as a Gene Kelly type, and "Rhapsody" became a drum corps summer blockbuster breakout hit!
8. Santa Clara Vanguard, 2009, “Ballet for Martha”
The Santa Clara Vanguard presented the show of the year. Decadent in its design gall, pristine in its nuanced performance, for all of the words used to describe “Ballet for Martha” -- restraint, control, class, vintage Vanguard -- this decisive decision was the balls-iest of the decade!
The arranger dared idiomatic convention by leaving the major sections in their original mezzo-forte form. The visual writer defied usual answers to movement questions by suggesting spring as a constantly morphing and budding blossom. The choreographer acquiesced to the spotlight often, allowing the color guard to support and surround before the highlighted dance movements overwhelmed. The percussion arranger delved into stacks of unused material for the delicious “drum break,” thus suspending obvious musical payoff one more minute.
For all the reasons that this ten-minute tone poem urged quiet venues (they were many, often, and sumptuous), the luxuriant and expansive “Simple Gifts” finale demanded ovation. And it received sustained standing salutes every night of the season.
7. Boston Crusaders, 2000, “RED”
Talk about your spectacle! Boston made it into finals just before the turn the century, and then ushered it in with this sensory overload of marching music.
The translation of “Bolero” to the field was definitional, and by the time the larger-than-life ballad “Time to Say Goodbye” had enveloped the audience, there would be no looking back.
But do take a look back at this drum corps classic: you’ll be seeing “RED” all over again for the first time.
6. Carolina Crown, 2009, “The Grass is Always Greener”
Carolina Crown’s entire concept and presentation was fence-straddling of a sort: “The Grass is Always Greener” was a drum corps specialty show as performance art. Initial viewings conjured memories of Sky Ryders’ “Wizard of Oz” – naturally, even its’ “West Side Story;” Cadets’ “Les Miserables”: and certainly Santa Clara Vanguard’s “Fiddler on the Roof,” “Carmen,” “Miss Saigon,” as well as its pinnacle “Phantom of the Opera.”
There is taste, constraint, and sophistication infused in every splendid detail and nuance. To be clear, this show is a reflection of the sum of its quality parts, but the actual story-telling imbedded into the drill is something of a miracle.
But in the retrospect of the season-long process during which every show morphs, is formed, and then reformed; where this newest, greenest star in the activity excelled was in the intelligence with which the audience was treated. The best fantasy rests in our minds, not in explication. By offering a world of capricious characters in the glorious rainbow of monochrome, I was able to write the story I needed every time the show was performed. Now that’s some more confidence.
Saturday, November 07, 2009 in Pageantry | Permalink | Comments (0) | TrackBack (0)
Field&Floor's 30 best drum corps shows of the 21st century: 20-11
20. The Cavaliers, 2008, “Samurai”
Too much of a good thing was at play with this century's most honored corps at its 60th anniversary, as it was this season overall.
The Cavaliers brought to the field what got 'em here: detailed design and pixilated precision, nuanced arrangements and symphonic sound. And it was all wrapped in an exquisite Japanese veneer. The recherché rumblings from the percussion that evoked the eastern nation and its customs hushed stadiums nationwide; drum corps ears perked at the invention.
There is no escaping the visual depth and pleasure from this machine each season; but honestly, no matter how eastern ethnic the design, the "Bond" that exists in, and between these men, will never waiver.
19. Carolina Crown, 2004, “Bohemia”
“Bohemia” would be a good place to go to cause another electronic ruckus, so North Carolina’s Crown did just that, by integrating singing, “The Colors of Love” from “Rent,” and a beat era poem/riff/rap into the percussion feature of its wildly entertaining, effective, and performed look at bohemians through the ages.
With a design that was at once both historic and modern, the performers dug in their trained heels and executed the feet off this fast-paced, all-out-satisfying program. In the end, this program set the bar, the first year out, for the use of electronics.
18. Holy Name Cadets, 2009, “West Side Story: Celebration and Conflict”
In as much as the 75th anniversary show for the Holy Name Cadets was artistic and performance homage to its championship years of the 1980s, the history of the corps and its music tells a much richer tale.
Music from “West Side Story” first appeared in the repertoire in the early 1960s, and has reemerged multiple times over the almost 50 years since. This reflection of the music and the corps gave it the best chance to effectively utilize the current technology.
But for all of the testosterone, velocity, and hubris that oozed from the field, it was the middle section that was medalist money in the bank. Holy Name, the Cadets offered the best three minutes of the year with the multi-tempo, multi-voiced “A Boy Like That / I Have a Love.” It was pure performance heaven.
17. Bluecoats, 2009, “Imagine”
Just why the Bluecoats’ marvelously droll, inventive “Imagine” was not one of the obvious fan favorites’ bets me; darned it, but this just might be the most engaging, crowd-friendly Canton ever!
Crisp, potent design; a pig sty of humor; and performances that popped; what more could you imagine the corps “bluuuuuuuuuuuu?”
When the “constraints” of the idiom were stripped away, the artifice of imagination inferred that the sky’s the limit, and lots of the most contemporary modes of performance came into play. Keeping that reach within the precision of the day, made fans “not the only ones” to think bigger, farther, more!
16. Phantom Regiment, 2007, “On Air”
Honest to goodness, there can be no more hard working unit in marching music than Phantom Regiment. But then, there are few corps that perennially showcase such raw emotion and unbridled power than does Rockford, either.
Heady, potent stuff here this season; something was in the air. “Flower Duet” absolutely “sang,” while Stravinsky’s “Firebird” literally “flew” across the field!
15. Santa Clara Vanguard, 2001, “New Era Metropolis”
This show was a wonderful set piece; a bustling city of indeterminate epoch. Modern, classic, futuristic, nostalgic, all rolled together for this frankly joyous outing.
The Vanguard hornline was insistent with the Glass, rollicking with the Freund, and all-out unreserved with the finale “dance.” Every year, it often seems, Vanguard is in a “new era.”
14. Carolina Crown, 2008, “Finis”
What composer Antonio Salieri was to Wolfgang Amadeus Mozart, Carolina Crown's phenomenal color guard was to the corps proper this year: a wincing, royal pain in the performing aspects!
Give it up for the full-throated brass; all praise the ever-improving percussion; and gasp at the obvious general effect of yet another marvel of drum corps confection; but when the guard (as I heard a staff member implore the unit prior at one show to do) "busts'a move," the ridiculous-wonder of the ridiculous-wunderkind Salieri beamed!
Okay, so "Finis" was read, and was often perceived as an attempt to be the all-endings-to-end-all-be-all. But this grand finale was, in fact, a nod to the drum corps' catalogue of endings-to-end-all, so in performance, this wholly true-to-the-idiom, tongue-in-cheek program was an ideal condition of joy.
13. Blue Devils, 2008, “Constantly Risking Absurdity”
The season-long presumptive champion Blue Devils teetered on its high-wire balancing act conceit, only to acquiesce the title by an artistically absurd .025.
I was sent rummaging through my library for parallels, for descriptions, for context in which to frame this loose, wild, imaginative folly. Theatre of the Absurd supplied the Devils with "broad comedy, often similar to Vaudeville ... characters caught in hopeless situations forced to do repetitive or meaningless actions ... clichés and nonsense; cyclical or absurdly expansive plots; and parody (at least) or dismissal of realism."
Even though I often viewed the program as if the yard lines were in fact high wires on which the corps was forced to balance, and that the rollicking, running drill implied something of a constantly moving safety net, by season's end, and with classic drum corps restating the obvious strengths of the corps, I wanted more absurdity.
Someone fall, I wanted to yell at the field; imagining a coalescing squadron of corps members scooping up their colleague and setting them right to continue the performance. A howling success, the Devils' reinvented much of what has become expected of the unit to grand achievement.
12. Cavaliers, 2000, “Niagara Falls”
I fell hard for this show; still do. My personal favorite Cavalier show. Everything in this production evokes the theme: music, drill, guard. But instead of the *THEME* whacking you across the face, it is infused throughout. Big difference. Watch it again; I think you’ll fall. Hard.
11. Blue Devils, 2003, “Phenomenon of Cool”
The coolest cats in the business came out swingin’, and never let up. It wasn’t Devil’s jazz of the 1900s; it was Devils’ jazz of the new century. And it was, quite frankly, phenomenal. Don’t annoy a winner, previously scorned.
Too much of a good thing was at play with this century's most honored corps at its 60th anniversary, as it was this season overall.
The Cavaliers brought to the field what got 'em here: detailed design and pixilated precision, nuanced arrangements and symphonic sound. And it was all wrapped in an exquisite Japanese veneer. The recherché rumblings from the percussion that evoked the eastern nation and its customs hushed stadiums nationwide; drum corps ears perked at the invention.
There is no escaping the visual depth and pleasure from this machine each season; but honestly, no matter how eastern ethnic the design, the "Bond" that exists in, and between these men, will never waiver.
19. Carolina Crown, 2004, “Bohemia”
“Bohemia” would be a good place to go to cause another electronic ruckus, so North Carolina’s Crown did just that, by integrating singing, “The Colors of Love” from “Rent,” and a beat era poem/riff/rap into the percussion feature of its wildly entertaining, effective, and performed look at bohemians through the ages.
With a design that was at once both historic and modern, the performers dug in their trained heels and executed the feet off this fast-paced, all-out-satisfying program. In the end, this program set the bar, the first year out, for the use of electronics.
18. Holy Name Cadets, 2009, “West Side Story: Celebration and Conflict”
In as much as the 75th anniversary show for the Holy Name Cadets was artistic and performance homage to its championship years of the 1980s, the history of the corps and its music tells a much richer tale.
Music from “West Side Story” first appeared in the repertoire in the early 1960s, and has reemerged multiple times over the almost 50 years since. This reflection of the music and the corps gave it the best chance to effectively utilize the current technology.
But for all of the testosterone, velocity, and hubris that oozed from the field, it was the middle section that was medalist money in the bank. Holy Name, the Cadets offered the best three minutes of the year with the multi-tempo, multi-voiced “A Boy Like That / I Have a Love.” It was pure performance heaven.
17. Bluecoats, 2009, “Imagine”
Just why the Bluecoats’ marvelously droll, inventive “Imagine” was not one of the obvious fan favorites’ bets me; darned it, but this just might be the most engaging, crowd-friendly Canton ever!
Crisp, potent design; a pig sty of humor; and performances that popped; what more could you imagine the corps “bluuuuuuuuuuuu?”
When the “constraints” of the idiom were stripped away, the artifice of imagination inferred that the sky’s the limit, and lots of the most contemporary modes of performance came into play. Keeping that reach within the precision of the day, made fans “not the only ones” to think bigger, farther, more!
16. Phantom Regiment, 2007, “On Air”
Honest to goodness, there can be no more hard working unit in marching music than Phantom Regiment. But then, there are few corps that perennially showcase such raw emotion and unbridled power than does Rockford, either.
Heady, potent stuff here this season; something was in the air. “Flower Duet” absolutely “sang,” while Stravinsky’s “Firebird” literally “flew” across the field!
15. Santa Clara Vanguard, 2001, “New Era Metropolis”
This show was a wonderful set piece; a bustling city of indeterminate epoch. Modern, classic, futuristic, nostalgic, all rolled together for this frankly joyous outing.
The Vanguard hornline was insistent with the Glass, rollicking with the Freund, and all-out unreserved with the finale “dance.” Every year, it often seems, Vanguard is in a “new era.”
14. Carolina Crown, 2008, “Finis”
What composer Antonio Salieri was to Wolfgang Amadeus Mozart, Carolina Crown's phenomenal color guard was to the corps proper this year: a wincing, royal pain in the performing aspects!
Give it up for the full-throated brass; all praise the ever-improving percussion; and gasp at the obvious general effect of yet another marvel of drum corps confection; but when the guard (as I heard a staff member implore the unit prior at one show to do) "busts'a move," the ridiculous-wonder of the ridiculous-wunderkind Salieri beamed!
Okay, so "Finis" was read, and was often perceived as an attempt to be the all-endings-to-end-all-be-all. But this grand finale was, in fact, a nod to the drum corps' catalogue of endings-to-end-all, so in performance, this wholly true-to-the-idiom, tongue-in-cheek program was an ideal condition of joy.
13. Blue Devils, 2008, “Constantly Risking Absurdity”
The season-long presumptive champion Blue Devils teetered on its high-wire balancing act conceit, only to acquiesce the title by an artistically absurd .025.
I was sent rummaging through my library for parallels, for descriptions, for context in which to frame this loose, wild, imaginative folly. Theatre of the Absurd supplied the Devils with "broad comedy, often similar to Vaudeville ... characters caught in hopeless situations forced to do repetitive or meaningless actions ... clichés and nonsense; cyclical or absurdly expansive plots; and parody (at least) or dismissal of realism."
Even though I often viewed the program as if the yard lines were in fact high wires on which the corps was forced to balance, and that the rollicking, running drill implied something of a constantly moving safety net, by season's end, and with classic drum corps restating the obvious strengths of the corps, I wanted more absurdity.
Someone fall, I wanted to yell at the field; imagining a coalescing squadron of corps members scooping up their colleague and setting them right to continue the performance. A howling success, the Devils' reinvented much of what has become expected of the unit to grand achievement.
12. Cavaliers, 2000, “Niagara Falls”
I fell hard for this show; still do. My personal favorite Cavalier show. Everything in this production evokes the theme: music, drill, guard. But instead of the *THEME* whacking you across the face, it is infused throughout. Big difference. Watch it again; I think you’ll fall. Hard.
11. Blue Devils, 2003, “Phenomenon of Cool”
The coolest cats in the business came out swingin’, and never let up. It wasn’t Devil’s jazz of the 1900s; it was Devils’ jazz of the new century. And it was, quite frankly, phenomenal. Don’t annoy a winner, previously scorned.
Friday, November 06, 2009 in Pageantry | Permalink | Comments (0) | TrackBack (0)
Field&Floor's 30 best drum corps show of the 21st century: 30-21
30. Madison Scouts, 2008, “La Noche de la Iguana”
I respectfully disagree that what landed the Madison Scouts back in finals was "regaining their swagger." I found the Latin feel of this music -- swing over bluster -- the inventive edge. In fact, just about everything the venerable Scouts did this season appealed.
Always striking on the field, the historic uniform reference with its elongating black, set off the field-matching green of the Scout jacket to distinctive, and defining, effect. The climb back to finals looked to be one of sweat and grit that only intense practice can afford.
29. Troopers, 2009, “Western Side Story”
Circle the date on your drum corps calendar, the cavalry is back to save the day! Laughter, tears, held breath, standing ovations; nothing but love was lavished on the once-again competitive Troopers from Casper, Wyoming. The good news goes far beyond the organizational story of near-death and resurgence: this was a gosh-darn good show and vehicle to get the corps back on the finalists’ prairie.
The overtly clever musical ruse was a bull’s eye hit; the arrangements were spot on sensational, ranking among the seasons finest. Rendered by the rich, warm brass, they came to life just as seamlessly as did the Troop and the “American Indians.” Forgive an intimately personal reaction: I teared up at the end of every performance when that polite young cavalryman tipped his hat to his new Indian friend. Hat tip right back, sir.
28. Blue Stars, 2008, “Le Tour”
When the Blue Stars re-entered the World Class in 2006, the folks in charge had championship night on their mind. Eschewing back-when reference in favor of every current activity mode, the corps slipped into this century's performance clothes. They fit: like a speed biker’s outfit.
Every second counted in this year's finals pursuit, the well documented 28-year race back into the World Class elite. No Tour de France image, or reference, was assumed. The French countryside became the musical palette on which biking visuals sped across the field. It was a crowded field early, what with bicycle wheels, flags with bicycle handlebars, that glorious spinning wheel opening set, and the rest. But by race's end, with a full corps bicycle moving towards the finish line, that field had been narrowed down to the winning cyclist.
A resurgent year and performance for any corps, this was made yellow jersey memorable by the Blue Stars.
27. Colts, 2007, “Equinox”
While pulling from historic drum corps "play books" for its crystal clear and unfettered design, the Colts also pulled out all the stops for a performance that kept the bases loaded for 11 minutes. But its coup de grace was in picking up "an old bat," the ballad ending, and sending it soaring over right field! “As If We Never Said Goodbye” was an aural highlight of the year.
26. Carolina Crown, 2006, “In.Trance.It”
Purists note: all of the joy, power, beauty, and pleasure that is the drum and bugle corps idiom can be obtained sparely. Carolina Crown continued its radical reinvention and satisfying run, by -- in purist's language -- laying down a straightforward horns, drums, and guard show.
Story has it that the corps' designers had chosen this year's splendid music and then worked until late May to configure it in a "title." How about that: a modern-day show based on the music, first.
From the initial step through the final reverberating chords, this was fan-tisfaction of the highest order. The sound, the drill (drill!), and that always underscored color guard, were spot on drum corps. Period.
25. The Cadets, 2001, “Juxtaperformance”
Similarly, this pure rendering by The Cadets was marching music nirvana. Yin and yang fully intended, “Young Person’s Guide” referenced, but was not homage to the revelatory Santa Clara signature. Brighter, faster, and all Cadets; it juxtaposed perfectly. “Moondance” was an immediate classic in every way.
And then that old “Farandole” was programmed as finale. Did the corps’ designers and performers have the most fun with this nugget? The speed was pure Cadets, an unexpected rush to the finish, complete with head-shaking “how-do-they-do-it” drill.
24. Capital Regiment, 2004, “Mind, Body, Spirit”
Except for a little activity-wide disagreement over electrical plugs and speakers, the story of this year would have been – should have been – the rise of Capital Regiment. The Ohio corps’s “Celebration of Life” was the program and the performance that maybe “should have.” Book-ending a program of music by David Holsinger with the traditional “Doxology,” was an inspirational way to present mind, body, and spirit in this seemingly effortless, and high quality presentation.
23. Santa Clara Vanguard, 2007, “!”
"Now that was a drum corps show!" With a head-nodding exclamation, my friend, and drum corps traveling companion said it. The Santa Clara Vanguard alumni who were around us completed the thought: "Gail saw that one." Eureka!
22. The Cadets, 2007, “This I Believe”
It was to be marching music's "A Chorus Line." The Cadets' "This I Believe" was to be "our" back story, the defining connection between performer, audience, and the future. Indeed it was to be the penultimate bridge from DCI to Marching Music's Major League.
The young people did their part, delivering oh-my-god performances all season. But the "story" behind the story misfired. What could have been, by season's end at least, the story of a single performer who found his voice in marching music, vacillated in reach, in tone, and in -- to put it simply -- writing quality.
What we really "heard" was the need to -- in marketing language -- "storyboard" the show; build a structure that moved music, visuals, and narrative forward dramatically. In other words, this would require a complete re-thinking of the marching music design, and writing, process. It will be done, and it will be done well. "This I Believe" moved the process that much closer.
21. Glassmen, 2001, “Imago”
As risky a venture as has ever been staged, there was one big “imago” at play in this audio sensory delight: perhaps the best soloist ever on the field. The production was wave upon wave of sumptuousness, cradling the music and visuals as if they were newfound gifts to be unwrapped. Time and memory serve this excellent venture well.
I respectfully disagree that what landed the Madison Scouts back in finals was "regaining their swagger." I found the Latin feel of this music -- swing over bluster -- the inventive edge. In fact, just about everything the venerable Scouts did this season appealed.
Always striking on the field, the historic uniform reference with its elongating black, set off the field-matching green of the Scout jacket to distinctive, and defining, effect. The climb back to finals looked to be one of sweat and grit that only intense practice can afford.
29. Troopers, 2009, “Western Side Story”
Circle the date on your drum corps calendar, the cavalry is back to save the day! Laughter, tears, held breath, standing ovations; nothing but love was lavished on the once-again competitive Troopers from Casper, Wyoming. The good news goes far beyond the organizational story of near-death and resurgence: this was a gosh-darn good show and vehicle to get the corps back on the finalists’ prairie.
The overtly clever musical ruse was a bull’s eye hit; the arrangements were spot on sensational, ranking among the seasons finest. Rendered by the rich, warm brass, they came to life just as seamlessly as did the Troop and the “American Indians.” Forgive an intimately personal reaction: I teared up at the end of every performance when that polite young cavalryman tipped his hat to his new Indian friend. Hat tip right back, sir.
28. Blue Stars, 2008, “Le Tour”
When the Blue Stars re-entered the World Class in 2006, the folks in charge had championship night on their mind. Eschewing back-when reference in favor of every current activity mode, the corps slipped into this century's performance clothes. They fit: like a speed biker’s outfit.
Every second counted in this year's finals pursuit, the well documented 28-year race back into the World Class elite. No Tour de France image, or reference, was assumed. The French countryside became the musical palette on which biking visuals sped across the field. It was a crowded field early, what with bicycle wheels, flags with bicycle handlebars, that glorious spinning wheel opening set, and the rest. But by race's end, with a full corps bicycle moving towards the finish line, that field had been narrowed down to the winning cyclist.
A resurgent year and performance for any corps, this was made yellow jersey memorable by the Blue Stars.
27. Colts, 2007, “Equinox”
While pulling from historic drum corps "play books" for its crystal clear and unfettered design, the Colts also pulled out all the stops for a performance that kept the bases loaded for 11 minutes. But its coup de grace was in picking up "an old bat," the ballad ending, and sending it soaring over right field! “As If We Never Said Goodbye” was an aural highlight of the year.
26. Carolina Crown, 2006, “In.Trance.It”
Purists note: all of the joy, power, beauty, and pleasure that is the drum and bugle corps idiom can be obtained sparely. Carolina Crown continued its radical reinvention and satisfying run, by -- in purist's language -- laying down a straightforward horns, drums, and guard show.
Story has it that the corps' designers had chosen this year's splendid music and then worked until late May to configure it in a "title." How about that: a modern-day show based on the music, first.
From the initial step through the final reverberating chords, this was fan-tisfaction of the highest order. The sound, the drill (drill!), and that always underscored color guard, were spot on drum corps. Period.
25. The Cadets, 2001, “Juxtaperformance”
Similarly, this pure rendering by The Cadets was marching music nirvana. Yin and yang fully intended, “Young Person’s Guide” referenced, but was not homage to the revelatory Santa Clara signature. Brighter, faster, and all Cadets; it juxtaposed perfectly. “Moondance” was an immediate classic in every way.
And then that old “Farandole” was programmed as finale. Did the corps’ designers and performers have the most fun with this nugget? The speed was pure Cadets, an unexpected rush to the finish, complete with head-shaking “how-do-they-do-it” drill.
24. Capital Regiment, 2004, “Mind, Body, Spirit”
Except for a little activity-wide disagreement over electrical plugs and speakers, the story of this year would have been – should have been – the rise of Capital Regiment. The Ohio corps’s “Celebration of Life” was the program and the performance that maybe “should have.” Book-ending a program of music by David Holsinger with the traditional “Doxology,” was an inspirational way to present mind, body, and spirit in this seemingly effortless, and high quality presentation.
23. Santa Clara Vanguard, 2007, “!”
"Now that was a drum corps show!" With a head-nodding exclamation, my friend, and drum corps traveling companion said it. The Santa Clara Vanguard alumni who were around us completed the thought: "Gail saw that one." Eureka!
22. The Cadets, 2007, “This I Believe”
It was to be marching music's "A Chorus Line." The Cadets' "This I Believe" was to be "our" back story, the defining connection between performer, audience, and the future. Indeed it was to be the penultimate bridge from DCI to Marching Music's Major League.
The young people did their part, delivering oh-my-god performances all season. But the "story" behind the story misfired. What could have been, by season's end at least, the story of a single performer who found his voice in marching music, vacillated in reach, in tone, and in -- to put it simply -- writing quality.
What we really "heard" was the need to -- in marketing language -- "storyboard" the show; build a structure that moved music, visuals, and narrative forward dramatically. In other words, this would require a complete re-thinking of the marching music design, and writing, process. It will be done, and it will be done well. "This I Believe" moved the process that much closer.
21. Glassmen, 2001, “Imago”
As risky a venture as has ever been staged, there was one big “imago” at play in this audio sensory delight: perhaps the best soloist ever on the field. The production was wave upon wave of sumptuousness, cradling the music and visuals as if they were newfound gifts to be unwrapped. Time and memory serve this excellent venture well.
Thursday, November 05, 2009 in Pageantry | Permalink | Comments (0) | TrackBack (0)
Field&Floor's 30 best drum corps shows of the 21st century: 5 extras
Carolina Crown, 2005, “Angelus”
In the corps' third year of quite a thematic and performance run, Crown presented a potent, but under-judged, approach to its stunning "Angelus;" subtly. A rich, round, warm sound from the horns trumpeted the sighting and arrival of these angels among us, with a variety of musical styles that was activity-leading this season.
The color palette used accents sparingly against the cream and purple of the corps proper; the visuals were at once literal and interpretive, field-spreading and achingly personal. Finely rendered was Carolina's every nuance and every effect.
That underplaying was no better shown than by this year's most accomplished and best-written color guard performance. No maudlin theatrics, no literal flapping of wings, and no drama crowned the spectacular auxiliary effort and contribution to the theme and to the show. Instead, the black-clad members/angels molded quite a traditional color guard performance into wings that flew!
Exposed, articulate, gentle, and awe-inspiring, this guard, this year, in this show and this performance, set a new standard.
Carolina Crown has forged quite a niche for itself in a time that niches are often hard to locate. No single song, no drill move, nor geographic location is involved; instead, the corps has followers looking for something they've never seen, they've never imagined, and that is brand new. Those are all essential to becoming a drum corps legend.
Boston Crusaders, 2009, “The Core of Temptation”
For the folks looking for tradition, Boston’s Crusaders were tempting to the corps. Solid, solid, solid across-the-captions marching music in the grand style was eye-popping and libido stroking. (That color guard came close to an R rating: racy, raucous, and writhing.) For a theme and attitude that inferred wild abandon, it was the taut precision in performance that coaxed viewers and judges into the musical/emotional lair of iniquity, night after night. The spectacular climax to the season left everyone spent. Apple, anyone?
Phantom Regiment, 2003, “Harmonic Journey”
This journey was emblematic of the Regiment, in that the corps delivered grand bombast and balladry in equal measure. No corps has ever done “dark” quite like Phantom; this music of the night adds to that oeuvre.
Santa Clara Vanguard, 2006, “Moto Perpetuo”
If you're a drum and bugle corps fan of any length, saying that this Santa Clara Vanguard show was an essential, was a no-brainer. This was the kind of show that used to come only from the brain of corps founder Gail Royer. What fun he must have had, looking down to see the "V" still captivate audiences with pleasures aplenty. At the end of the exit tunnel there was no mistaking that California's Vanguard was back ... yet again!
Southwind, 2000, “Holst Suite for Band”
My favorite drum corps memories are of shows that I simply cannot get out of my head. Especially wonderful are those that replay themselves in my mind’s eye, sometimes when I least expect it. When those memories are of non-finalist shows: it is all the better. Southwind’s closest encounter to Saturday night plays handsomely in retrospect. The musical mix of classic drum corps, movie soundtrack, and modern wind arrangements was the perfect foil to its literal kaleidoscope visuals.
In the corps' third year of quite a thematic and performance run, Crown presented a potent, but under-judged, approach to its stunning "Angelus;" subtly. A rich, round, warm sound from the horns trumpeted the sighting and arrival of these angels among us, with a variety of musical styles that was activity-leading this season.
The color palette used accents sparingly against the cream and purple of the corps proper; the visuals were at once literal and interpretive, field-spreading and achingly personal. Finely rendered was Carolina's every nuance and every effect.
That underplaying was no better shown than by this year's most accomplished and best-written color guard performance. No maudlin theatrics, no literal flapping of wings, and no drama crowned the spectacular auxiliary effort and contribution to the theme and to the show. Instead, the black-clad members/angels molded quite a traditional color guard performance into wings that flew!
Exposed, articulate, gentle, and awe-inspiring, this guard, this year, in this show and this performance, set a new standard.
Carolina Crown has forged quite a niche for itself in a time that niches are often hard to locate. No single song, no drill move, nor geographic location is involved; instead, the corps has followers looking for something they've never seen, they've never imagined, and that is brand new. Those are all essential to becoming a drum corps legend.
Boston Crusaders, 2009, “The Core of Temptation”
For the folks looking for tradition, Boston’s Crusaders were tempting to the corps. Solid, solid, solid across-the-captions marching music in the grand style was eye-popping and libido stroking. (That color guard came close to an R rating: racy, raucous, and writhing.) For a theme and attitude that inferred wild abandon, it was the taut precision in performance that coaxed viewers and judges into the musical/emotional lair of iniquity, night after night. The spectacular climax to the season left everyone spent. Apple, anyone?
Phantom Regiment, 2003, “Harmonic Journey”
This journey was emblematic of the Regiment, in that the corps delivered grand bombast and balladry in equal measure. No corps has ever done “dark” quite like Phantom; this music of the night adds to that oeuvre.
Santa Clara Vanguard, 2006, “Moto Perpetuo”
If you're a drum and bugle corps fan of any length, saying that this Santa Clara Vanguard show was an essential, was a no-brainer. This was the kind of show that used to come only from the brain of corps founder Gail Royer. What fun he must have had, looking down to see the "V" still captivate audiences with pleasures aplenty. At the end of the exit tunnel there was no mistaking that California's Vanguard was back ... yet again!
Southwind, 2000, “Holst Suite for Band”
My favorite drum corps memories are of shows that I simply cannot get out of my head. Especially wonderful are those that replay themselves in my mind’s eye, sometimes when I least expect it. When those memories are of non-finalist shows: it is all the better. Southwind’s closest encounter to Saturday night plays handsomely in retrospect. The musical mix of classic drum corps, movie soundtrack, and modern wind arrangements was the perfect foil to its literal kaleidoscope visuals.
Wednesday, November 04, 2009 in Pageantry | Permalink | Comments (0) | TrackBack (0)
Revolutions in the midst of evolution
I have long held, and contend now, that changes on both field and floor tend to be more evolutionary than revolutionary, but in my almost 40 years following marching pageantry, there have been notable exceptions. This year in drum corps was one of those exceptions. But let me not get ahead of things.
Being a public relations volunteer for DCI gave me opportunity for travel that I might never have experienced. Montreal, Canada and Olympic Stadium, is a location I will always cherish; the creative groundswell change of the revolutionary 1982 Cadets is a performance from that venue I will never forget.
The Cadets got back into finals at eleventh in 1980, the second year in Birmingham, by using familiar music, marching chestnut programming, and a visual “shell game” piece of general effect. The jump to seventh the next year was lauded as “enormous.”
But no one was prepared for the programming approach the Cadets chose in 1982. My mind’s eye recalls stunned silence at the abrupt end of “Cuban Overture” and the show … followed by seismic ovations from the stands. In its wake, drum corps’ earth opened, leaving the activity in exhilarated, creative disarray.
The Blue Devils’ seven minute opening to “Channel One Suite” in 1976 was an unheard of length at the time; but hold on to that thought. Certainly Santa Clara Vanguard’s asymmetry in 1980 broke hallowed, and balanced, visual ground.
Undeniably, pieces of this puzzle have changed and morphed each generation, but in the DCI years, there seem to be no more than a championship night dozen rumblings that have fundamentally redefined the idiom. There have been more attempts at revolution than have met success, and NBA-sized footprints.
Some have been one-hit wonders; others have at least extended the reach of creativity for another unit to take and expand upon. Some of my favorite atmospheric shots that stand the test of time, if not application, include Phantom Regiment’s 1985 drill to “Symphonie Fantastique:” dense and complex, to most eyes it looked too hard to perform. Suncoast Sound’s original score, “A Florida Suite,” opened up musical possibility that continues today; Madison Scouts’ mid-70s reengineering of the horn line; Cavaliers’ “Ahh”-some visuals that began in the 80s …
Here’s where each reader goes Kanye West on me: “I’ma let you finish, but (fill in the blank) brought the most change to the activity ever!
Indeed.
Being a public relations volunteer for DCI gave me opportunity for travel that I might never have experienced. Montreal, Canada and Olympic Stadium, is a location I will always cherish; the creative groundswell change of the revolutionary 1982 Cadets is a performance from that venue I will never forget.
The Cadets got back into finals at eleventh in 1980, the second year in Birmingham, by using familiar music, marching chestnut programming, and a visual “shell game” piece of general effect. The jump to seventh the next year was lauded as “enormous.”
But no one was prepared for the programming approach the Cadets chose in 1982. My mind’s eye recalls stunned silence at the abrupt end of “Cuban Overture” and the show … followed by seismic ovations from the stands. In its wake, drum corps’ earth opened, leaving the activity in exhilarated, creative disarray.
The Blue Devils’ seven minute opening to “Channel One Suite” in 1976 was an unheard of length at the time; but hold on to that thought. Certainly Santa Clara Vanguard’s asymmetry in 1980 broke hallowed, and balanced, visual ground.
Undeniably, pieces of this puzzle have changed and morphed each generation, but in the DCI years, there seem to be no more than a championship night dozen rumblings that have fundamentally redefined the idiom. There have been more attempts at revolution than have met success, and NBA-sized footprints.
Some have been one-hit wonders; others have at least extended the reach of creativity for another unit to take and expand upon. Some of my favorite atmospheric shots that stand the test of time, if not application, include Phantom Regiment’s 1985 drill to “Symphonie Fantastique:” dense and complex, to most eyes it looked too hard to perform. Suncoast Sound’s original score, “A Florida Suite,” opened up musical possibility that continues today; Madison Scouts’ mid-70s reengineering of the horn line; Cavaliers’ “Ahh”-some visuals that began in the 80s …
Here’s where each reader goes Kanye West on me: “I’ma let you finish, but (fill in the blank) brought the most change to the activity ever!
Indeed.
Tuesday, November 03, 2009 in Pageantry | Permalink | Comments (0) | TrackBack (0)
Field&Floor's 50 best color guard shows of the 21st century
The decade has brought much onto the “floor of competition” as well. But I tipped my hand shortly after the conclusion of the 2009 Winter Guard International season, and shared my 50 favorite color guard shows of the decade.
The top units on that list thrilled, even as canvases on gym floors wrinkled in their aftermath. Click through to read, or re-read them all 50-1:
Numbers 50-36
Numbers 35-21
Numbers 20-11
Numbers 10-6
Top 5 color guard shows of the new century
Given the huge number of units in the activity, I also declassified the classes and gave them their decade due.
The top units on that list thrilled, even as canvases on gym floors wrinkled in their aftermath. Click through to read, or re-read them all 50-1:
Numbers 50-36
Numbers 35-21
Numbers 20-11
Numbers 10-6
Top 5 color guard shows of the new century
Given the huge number of units in the activity, I also declassified the classes and gave them their decade due.
Monday, November 02, 2009 in Pageantry | Permalink | Comments (0) | TrackBack (0)
The Bridgemen evolve; or did I?
From the irreverent “revealing” of the colors, through the bump-and-grind concert number, all the way to “passing out” (falling down) at the end of an “exhausting” performance, the reinvention of the corps sent most fans into a screaming frenzy, as the Bayonne “bananas” turned everything precise inside out, ushering in its signature style.
Really, this was tough for me, for several years. When this drum corps from Jersey came to my hometown Birmingham, Alabama, in 1979, it took the crowd, lock, stock, and Civil War gun barrel pratfalls! I loathed it. I was personally embarrassed that “my” drum corps activity had been so demeaned, so insulted, by the insouciance, the lack of discipline (so I perceived it), of this renegade bunch.
In my first years as a public relations volunteer with the activity I tried to get media to focus on stringent exactitude; the media focused on “Thunder and Blazes,” on the “pimp” uniforms, and on the sheer entertainment that The Bridgemen brought to Legion Field. It would be but a few years before that “lack of discipline” I perceived became just the pressure cooker escape valve the activity craved; the pin prick that popped the pomposity of the past.
My perspective yielded. It was true: the evolution was indeed competitive, even among the activity’s most ardent fans. When I sit back and consider the first ten years of the 2000s and the evolution of drum and bugle corps, it remains clear that the best new ideas underscore the best of the activity’s core, no matter when any of us came into the fold.
That point, it seems, is pivotal to the evolution “argument:” what each of us considers bedrocks, or tenets, of the idiom, varies. Finding common ground is often as difficult as is change itself: the grass is always greener likely does not even begin to explain the conundrum.
I’ve grappled with it, however, and have drawn some conclusions of my own: conclusions that I will share over the coming days.
Really, this was tough for me, for several years. When this drum corps from Jersey came to my hometown Birmingham, Alabama, in 1979, it took the crowd, lock, stock, and Civil War gun barrel pratfalls! I loathed it. I was personally embarrassed that “my” drum corps activity had been so demeaned, so insulted, by the insouciance, the lack of discipline (so I perceived it), of this renegade bunch.
In my first years as a public relations volunteer with the activity I tried to get media to focus on stringent exactitude; the media focused on “Thunder and Blazes,” on the “pimp” uniforms, and on the sheer entertainment that The Bridgemen brought to Legion Field. It would be but a few years before that “lack of discipline” I perceived became just the pressure cooker escape valve the activity craved; the pin prick that popped the pomposity of the past.
My perspective yielded. It was true: the evolution was indeed competitive, even among the activity’s most ardent fans. When I sit back and consider the first ten years of the 2000s and the evolution of drum and bugle corps, it remains clear that the best new ideas underscore the best of the activity’s core, no matter when any of us came into the fold.
That point, it seems, is pivotal to the evolution “argument:” what each of us considers bedrocks, or tenets, of the idiom, varies. Finding common ground is often as difficult as is change itself: the grass is always greener likely does not even begin to explain the conundrum.
I’ve grappled with it, however, and have drawn some conclusions of my own: conclusions that I will share over the coming days.
Sunday, November 01, 2009 in Pageantry | Permalink | Comments (0) | TrackBack (0)
The evolution with be competitive
I lost it at the movie “Here Come the Troopers,” but here I was, a brand new fan in the stands, at my first live drum and bugle corps competition: 1973, Bluegrass Nationals, Lexington, Kentucky.
My puppy love was dashed by the very first corps to “enter the field in competition.” The directive was interpreted literally those days; but instead of entering, each member of this unit laid down along the back sideline, randomly, and in various poses. The gun sounded, and one by one the members came to their feet, upright, and began to march and to play. Finally, uniformly, militaristically; the way drum corps was supposed to be. All they had to do was ask me: I’d have told them.
Sunday, November 01, 2009 in Pageantry | Permalink | Comments (0) | TrackBack (0)
