pudding

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About pudding

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    DCP Rookie

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  • Your Drum Corps Experience
    Spirit of Atlanta, Bluecoats
  • Your Favorite Corps
    Bluecoats
  • Your Favorite All Time Corps Performance (Any)
    2015 Bluecoats
  • Your Favorite Drum Corps Season
    2014
  • Gender

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  1. Lol I didn't say anything one way or the other. I could just as easily have said that Crown should be 2nd in both captions as 4th in both captions. Maybe you should stop looking for contention where there is none? Edit: Also, I've never said anything on here regarding the singing. I'd appreciate if you wouldn't accuse me of things I haven't said.
  2. As a singular example, Crown 4th in Vis. Proficiency but 2nd in Vis. Analysis is very strange. Same with SCV 1st in Vis. Proficiency but 3rd in Vis. Analysis.
  3. I'll give Brass to Crown, but 1st in Music Analysis? The very first Bach was phasing between the brass and front ensemble...
  4. I don't understand a lot of these scores. Even discounting where I disagree on certain specific subcaptions, there are certain ways that subcaptions interplay with each other that would suggest disagreement between judges tonight.
  5. I think that everyone has a fundamental misunderstanding of what General Effect actually is in terms of what is even capable of being judged. Personal enjoyment is not an objective measure (obviously), and so it can't be (and in an ideal world isn't) part of the GE judging criteria. General Effect, to me at least (though it seems generalizable enough), is simply a measure of how well the show designers communicate a holistic concept or idea through their show design (repertoire) and how well the performers convey that idea through their live performance and presentation of the designed material that the designers give them (performance). In other words, if the field is a plate, the designers are the chef that designs the dish, the performers are the cooks that create the dish, the judges are the restaurant reviewers, and the audience are all of the other patrons of the restaurant. A dish that receives rave reviews by critics may be disliked by the general public, and vice versa; a chef may simply design a poor dish, or the cooks may prepare an excellent dish poorly. Different restaurants may be fan favorites with lines out the door, but receive mediocre reviews, while others may consistently receive Michelin stars but lack widespread "commoner" appeal. What we see on the scoring sheet is the review in the newspaper, and the chatter in the stands is the word-of-mouth on the street; they are both important, but not necessarily linked. To complete the analogy and bring it back to the discussion, in order to understand what's happening on the sheets, you're going to need to think like a food critic instead of as an everyday restaurant-goer; thinking like a judge is different from thinking like an audience member. Judges need to consider designers' intent, performers' communication of that intent, cohesion of design, and evaluation of errors. Audiences just need to be entertained.
  6. I still don't like the changes at the end of One Study. They feel tacked-on and ruin the flow for me.
  7. On the flip side, we have people who will defend anything their home team does, regardless of its flaw or drawbacks. I'm as big a fan of Crown as anyone (2008, 2009, and 2013 are some of my favorite shows), but I'm also not afraid to call a spade a spade and call out problems when I see them. I'll also call out Spirit of Atlanta and the Bluecoats when they have problems, even though I performed with those groups, because that's what it means to be critical fan instead of a blind fanatic.
  8. This is the definition of art that best applies to personal appreciation of artistic work; in other words, it's totally fine for an individual to like or not like any given thing as art, and they do not need to justify their artistic experience to anyone except themselves. However, many artistic expressions, such as performance art like drum corps, require a connection between the artist(s) and the observer(s). In this case, the artists are the show designers, and the observers are the judges and the audience (the performers are also artists, but not in the sense of show design. Their artistry is much more in the realm of experiential art). In this type of art, the artist is required to communicate an idea to the observer, and needs to do so in a common language. If the artist decides to use a label for their art, then they must use a common definition for that label. Since Crown's designers chose to use "Deconstruction" as their artistic label, they must follow the rules of Deconstruction.
  9. You can't just do anything and call it deconstruction. This is a huge misconception with the art of deconstruction, not just in drum corps but in all fields (most notably in the culinary and visual art worlds). A true deconstruction needs to be a deliberate breakdown of elements, and, having done a breakdown, a reconstruction of the elements into a cohesive form that resembles the original product while placing more emphasis on the individual elements than the gestalt, but which still works when taken as a whole. In the language of drum corps, with specific regard toward this show, I feel that Crown did an adequate job of breaking down into elements and emphasizing them, but did not succeed at the reconstruction, nor at observing the composition of the elements into a holistic entity.
  10. I would really like to see a corps tackle Anthracite Fields by Julia Wolfe. I think that Blue Devils, Bluecoats, Crown, SCV, or even the Cavaliers could do it and still be in their stylistic wheelhouses. Movement I: Foundation Movement II: Breaker Boys Movement III: Speech Movement IV: Flowers Movement V: Applicances
  11. What disappoints me the most with this show are the extremely abrupt transitions between musical material. From a corps that gave us the Promise of Living transition in 2009 (one of my favorites ever), seeing such jarring shifts from one piece to the next (e.g. "I KNOW YOU" then BAM suddenly Bach from Akiho with no other transitory material) is a huge letdown in terms of what I'm seeing vs. what I know the design staff is capable of.
  12. The entire point of the front ensemble work at the turn around is to more fluidly introduce the battery under the prop, which is the real element of importance to the moment. Listen to the original; at the climax, there is tons of distortion and static/white noise, which is represented by the muffled drums under the stage. However, simply having the drums start playing without preamble would be one-dimensional and ineffective; the front ensemble adds color and melodic activity to a primarily harmonic ballad. In that moment, the front ensemble is the glue that ties the long tone pitched sonority of the brass to the new, rhythmic element of the battery by contributing both: pitched rhythmic activity. Without the front ensemble, the battery statement is ineffective; without the battery, the turn-around is ineffective; without the turn-around, the nod toward the original music is ineffective. My only complaint about the turn-around is that they could have set up a line of speakers on the opposite corner tarp, and had the live pickups come solely from the front-right corner while the brass plays to the back-left. That, in my opinion, would have been a perfect effect in terms of juxtaposition of what is seen vs. what is heard, as well as highlighting the left/right divide of the prop on the field and justifying the corner tarps (which to me still feel without any particular purpose).
  13. Absolutely loving the innovations in electronic effects that Blue Knights are bringing to the table.
  14. The only change I don't like is the end of the Psathas. Previously, when the snares and quads would trade fours into the marimbas playing the descending line, it felt really natural, like a buildup and release. Now, it feels too protracted; it seems too obvious that they needed to fill another bar or two to fit the visuals they wanted in the brass. In addition, while I like that the Psathas now goes straight into the Zappa, the end of the Psathas sounds too synthetic, making the Zappa feel "hollow" or "empty", even though the brass are playing tutti and loud. There's a balance to be had, and I don't think they've quite hit it yet. I trust Tom, Doug, and Vince to massage it into place, it just doesn't feel smooth yet. RIP concert euph, I for one always liked you.
  15. Thoughts on this year's show: Great music. Really, really wonderful treatments of all of the source material. My two cents on the ballad are that I love it, and that anyone who doesn't should listen to the original source music; all of their "questionable" decisions are in service of providing the distorted effect of the original music. Thematically, I'm struggling to "get" the show. "Jagged Line" doesn't really show up except for the prop and a few drill moments that happen to line up with the prop. I feel like they're not buying into the "simple theme" concept like they did with Tilt, where they threw "tilt" into every aspect of the show. I also don't get the corner field tarps; why are they there? I have similar thoughts regarding the bowler hats and neon guard implements; I'm just failing to see any particular rationale behind some of the design decisions.