Brutus

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About Brutus

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  1. What is the historical accuracy behind the Tilt skirt. Please. Go on and on.
  2. Your logic is like a teen girl at prom. "It doesn't look like that and yes it does so who cares, no one cares about you!"My. God. Please describe the intention behind this absurd trend and why no one is talking about it. And why no designer can justify the trend as it relates to individual show design other than it's a trend in general. That's not good enough.
  3. When the Bluecoats start their show, you get that slow-black, crow-black, deep in your bones feeling that this is the future. You watch it, as if from your satisfied Our Town grave. The only thing the show needs is for the designers or performers to reveal on a personal level what this music means to them, viscerally, spiritually.
  4. 2014:"A parting glance from a loved one or the memory of your grandmother's hands folded in her lap?" No that was foreboding and dire too. Way way too preachy and grim. Way too "last gasp of breath". Way way too on the nose.
  5. 78th and Madison Madison's Gene Kelly show is winsome and delightful. The production puts dance front and center, rather than tacking on dance as an afterthought which so many drum corps shows do. THE MGM LION 78th and Madison starts with the MGM lion roar. But according to film restoration expert Greg Kimble in Hollywood, MGM's A-level releases had a three-roar introductory segment. Only the C Level pictures had a one-roar introductory segment. This is an A level release. Change it. PIN-UP GIRLS The cardboard cutout dance sequence where the Gene Kelly-esque dancers have a fling with t
  6. https://s-media-cache-ak0.pinimg.com/236x/20/51/2f/20512ff358a7dc6cd6b64f9624220a90.jpg
  7. If you have to sqiunt to see whether or not it's a skirt, the audience will do the same.
  8. Drum corps show color guards are just now snapping out of a modern dance phase that has damaged the activity because of its frenetic, repetitious, homogenous, over-emotional clap-trap. How many shows have you seen where color guards are doing these generic modern dance moves over and over again? Clutch your heart, reach for the sky. Fall to the ground on your side in a sleeping position. Fetal position. Contract at the waist, wrap your arms around yourself. My god, choreographers. Does every piece of music evoke these same generic modern dance moves to you? Recently corps color guards
  9. Star's Medea was an experiment in maintaining unflinching anger for 13 minutes. It worked, I guess.
  10. The activity would be dead if that dumb mantra had been followed. Now that the activity has matured and evolved to encompass complex dramatic actions and subtle visual themes (and some not so subtle), that shallow, empty beer bottle advice just doesn't cut it. Maybe in 1976 this worked, but now that our brains are fully developed, no. That's like going to the Art Institute of Chicago and saying, "It's all about color." Provincial sayings like this completely negate of the maturation of this art form. Now dramatic elements are supporting the visual, lending depth and humanity, meaning, a
  11. These WGI shows are almost painfully preachy and way way too "on the nose." Really disturbing. Where's the humor? The joy, the complexity, the naughtiness, the off-center point of view?
  12. "Meaning" and a well developed theme can simply be the Nordic opera star being eaten by the shark at the end of the Velvet Knight's show, a lampoon of entertainment memes. It's not hard. Another example is SCV '99 where the build in the music was met with the rotating wedge that turned into an arrow. The pattern was the swelling music.
  13. Here's the interview of Program Coordinator Dean Westman on the meaning of the word Tilt as the incidentally selected symbol for their show. He basically reveals that there was no underlying meaning other than a vague reference to these composers being "off kilter", no specifics about these composers lives, no thematic argument, no story, no series of events, no humanity, no pattern or progression or game other than examples of things tilting and "messing with perspective", and no effort to link the visual design to the composers point of view being "off kilter" in the context of other sympho
  14. Do you prefer the discussion about Madison's show to be about how great it was? If your corps were to be selected for next Year's Macy's parade, would you review this year's tape? The camera placements? The long pause and lack of movement after the tune is finished and before the cadence starts? The lack of movement in the overhead camera? I thought so. You'll catch on.