Park It Over Here
We all know that the marching activity has been a valuable means of getting young (and not so young) people off the streets… and into the parking lots. Here are a few tidbits of parking lot history:
Was Star of Indiana Good for the Activity?
Point: Star of Indiana Was Good for the Activity
by T.L.
In this debate on the state of drum corps today, one corps – Star of Indiana – has been a flashpoint. To many, Star is the strongest example of what ails the activity. They look at the corps’ progressive programming and financially firm footing and think that this somehow will bring drum corps to ruin.
That’s ridiculous!
The First “Ask the Arranger”
When my good friend, Rick Connor, called and asked if I would contribute an article for his new publication, Masters of the Marching Arts, (actually, he said, “aahticle” and “maahching aahts,” but I lived in Boston for many years and learned the language, so I knew what he meant), I responded the only way I could ….”No!”
Al Saia – World Drum Corps Hall of Famer
On Saturday evening, August 31, 1996, Mr. Al Saia was inducted into The World Drum Corps Hall of Fame, founded in 1976. This is a most prestigious honor, as Al joins fellow New England corpsmen Scotty Chapell, Dom Bianculli, Earl Sturtze, Vinnie Ratford, Pepe Notaro, Alan Smyth, Tom Long, Darcy Davis, Dominic Del Ra, Joe McNaught, Ray Samora, Jack Whelan, Duke Ducharme, Ed Trainer, Cliff Fisher, Jim Pinette, Gerry Shellmer, and Gil Silva.
Al’s drum corps career had its start with the Sacred Heart Crusaders of Malden in 1937 and a life-long relationship began with Arthur “Scotty” Chappell, and the corps’ spiritual director, Father Sheehan. He started out in the horn line, but early on the powers-to-be spotted something special and he was promoted to drum major.
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Drum Corps in 1996
Point – What’s Right with Drum Corps in 1996?
by Tom Lizotte
To hear some say it, there isn’t a lot that’s right with drum corps in 1996. But while some would want to bring us back to the days of valve-rotor bugles, company front opening sets, and every other corps playing “National Emblem,” the fact is that there is more right than wrong with drum corps today.
It’s easy to fixate on the old days, in which (it seems) every local community had a corps and, of course, almost every corps was wonderful. The old days, however, weren’t necessarily better. They were just different.
From Chrome to Rope
Observations of a Drum and Bugle Corps Drummer
in the World of Fife and Drum
by Michael J. Cahill
As I grow older, I am truly amazed that I continue to learn a great deal – a fact that is astonishing considering that I was quite certain that I knew it all some 35 years ago. One of these revelations is that almost nothing is what it is for no reason. If you trace anything backwards in time, there is almost always a person or an event that starts, alters, or puts something on a path where permanence is established. Although we are told that drumming is as old as man, the adoption of the drum by the military is one of those momentous events.
The Phantom from Methuen
The national drum corps scene had a decided New England flair this past season in that several participants in several top corps have Massachusetts roots.
Amy Grelle, daughter of Frank and Elaine Grelle, is a 20-year-old Senior at Merrimac College, majoring in psychology, and she is a National Champion, having captured the title this past season while marching with the Phantom Regiment Drum and Bugle Corps, who tied the Blue Devils in Orlando at the D.C.I. World Games.
Gerry Shellmer – Unplugged!
Gerry wasn’t like the other drummers and instructors. Hell, he wasn’t like anyone you ever met before, a unique, creative, intense and driven genius. He now resides in Wilmington, Delaware and his current passion is sailing. He screams at the waves, the seagulls, the sails, the sun, and anything else that amuses him.
New England has had more than its share of innovators going back to Chappell in the ’30s, ’40s, and ’50s and too many others to mention here, but along with Chappell and George Zingali, the visual giant, Gerry Shellmer changed the face of marching percussion for all time.
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The National Contenders
However checkered its history in winning championships may be, Massachusetts has traditionally featured many national contenders. From the late 1950s to the mid 1980s, this state had a formidable national presence that resulted in intense – often bitter – local rivalries.
In the 1950s, the nationally contending corps were I.C. Queensmen, Salem P.L.A.V., St. Thomas More, the Holy Trinity Cadets, Most Precious Blood Crusaders, and the Braintree Warriors, with Cambridge Caballeros, St. Kevin’s, Majestic Knights, and St. Rose Scarlet Lancers just reaching national maturity. (more…)
A Rift in the 27th Lancers?
Dear Aunt Mildred,
You’re probably wondering why I sent this letter to you care of Masters of the Marching Arts. I happen to be a personal friend of your nephew, R.C., and he gave me the inside track on this new gig of yours and told me that you don’t get paid if there are no letters in an issue. Whereas this is the first issue, how could you be expected to have letters? He sure is one smart dude.
Anyway, my question is this: What is the story on the 27th Lancer Alumni Corps? I think they’re the greatest! I was a little disappointed this year to see them at the Lynn and Beverly shows and then to find out later that there was some kind of a rift – the drummers were mad at the buglers or vice versa? What gives?
Sincerely,
Brownie
I’m Bored – Aren’t you?
By Gerry Shellmer
In my opinion, listening to a drum corps percussion section is as musically boring as a politician’s campaign speech. Imagine how interesting and musically rewarding a drum corps contest would be if the instrumentation were not limited to mere drums and cymbals. The contest would evolve into an enjoyable show and therefore a more saleable product which would realize more $$$ for the corps.
Honestly, consider the amount of musical orientation drummers receive who play in even the finer lines in the nation. Hopefully they will at least learn how to read music and play in time. They learn to play with precise execution – the snare drum, the tom tom, bass drum, cymbals and tympani. Whether or not they learn to play these instruments with the proper technique is in serious doubt.
Before a percussion student is accepted into any good music college, he must demonstrate a degree of proficiency on a keyboard mallet instrument, usually the marimba. Where does he get the training? Certainly not in the drum corps!!!