Brutus

Sorry, you don't take the final floating plastic bag speech from American Beauty and stretch it out to 13 minutes. No.

You and I are here for exactly the same reason. Yes, Grasshopper. SCV 99 is a brilliant show. --Commitment to a whole piece of music. Check. --Repeating snake drill. Satisfying and a distinct recognizable chain reaction visual move. Chain reactions have an inherent predicability. The audience loves knowing what comes next. Check. --Repeating end of opener and end of closer signature drill move. (Look at the audience scream with delight as they can predict what happens next. That's all they crave. A pattern. Repetition. It's simple as that.) http://youtu.be/TSVJebquYV8

The great thing about traditional drum corps shows is that there's a built in pattern to music with recognizable emotional peaks. The peaks corresponded with the typically symmetrical drill sets. That's what's so satisfying about old drum corps shows. The tunes are typically short. The payoffs are clear and correspond with the most dramatic part of the piece of music. The audience is programmed to see an impossible drill set like a company front appear at the final push in the music. Setup. Payoff. Setup payoff. But the Bluecoats this year are not playing your typical Malaguena. They're not playing Pagliacci. They're playing non-traditional symphonic music without those built-in peaks, and the drill is augmented with the triangle pieces that offer nothing thematically or athletically to build a cohesive picture that justify their use, and nothing that provides a wow payoff. That's a problem. There's no "Wow, how do they do that!?" (Except at the end when the guy jumps.) Now if the Bluecoats did a thing where the entire corps was balancing on these triangular pieces (with help), and did the pitch bend while shifting from one side to the other, then we're getting somewhere. The triangles would then be justified and integrated into the course of the show. But right now, there seems to be mostly leaning up against, crawling up and laying, and dragging them around. Or if the Bluecoats did a thing where the trust-jumper was hesitatant at first, and by the end jumps into a new "tilted" era of innovation, then yes. The triangles would be justified and integrated into the course of the show. Or if the Bluecoats did a thing where the triangles were pushed together to form an obstacle over which they navigated by climbing over them triumphantly, then yes. The triangles would be justified and integrated into the course of the show. But right now, they're a lot of extraneous scenery without thematic effect except at the end. Do the Bluecoats have some major change they're going to present using the triangles that help integrate and justify their use? If I were they, I'd show the jumper at the beginning not able to jump, and by the end he does. That's all they need to win. Some pattern. God help us, some throughline.

You must have missed his post where he called me pretentious and pseudo intellectual.

Then this show will be stuck in the "Glimpses Of" judging category. "Glimpses Of" typically means there are snippets from, images from, or allusions to the original work, but we're not going to see a complete dramatic action, we're not going to see a cohesive point of view, and we'll be left unsatisfied. We're here to see these performers present a cohesive well thought out thematic argument. Not guess, hint, tip-toe, allude, hazard, leave to inerpretation, or attempt. The performers have fierce commitment, I just wish the designers did too. (The thematic argument can be complex and double-edged, but it must be clear-- it's really hard to do!)

I'll try to speak your language. When the guy jumps, what's it mean? What does it feel like to you? How does it fit?

I notice that your posts are completely devoid of any analysis or substance. Typically, your posts contain the words "like" and "appreciate" which is really wonderful if we were all day camp counselors in the Catskills. By the way, many of my suggestions in my critiques were implemented weeks later. Review my posts and you'll see.

It was like adding frosting to a cake made of frosting. Just bizarre. Ug.

The huge winner in tonight's show was Santa Clara. What a lavish, elegant, visually arresting, sweeping, epic production. I believe they can add more points still if they give the lead character a moment of stress or emotional strife during one of her stories. Then, by the end, we feel like she's been through it and survived. We need a a bigger emotional journey, a bigger emotional range. I believe they can overtake Bluecoats.

What is your approach to improving the transitions?

It wouldn't kill you to click "Like this".

To trump your ridiculous etymological treasure hunt, The Bluecoat Academy is a Church of England voluntary aided secondary school in the Aspley area of Nottingham, England, dating back to 1706. See how this strained, esoteric reference smacks of desperation? Clearly the local Ohio police force was more influenced by the major major use of the expression "Bluecoats" in Civil War history, not some British constubulary system. That's ridiculous as everyone knows police are illiterate. The take away from this conversation is that Bluecoats is a name with a history, most commonly and primarily from a Civil War reference, and if you must mention it, later adopted by a local police force. And in any case not "without meaning at all" as Guardling groggily suggested.

quietcity, on -6 Aug 2014 How much verisimilitude to [sic] you require? ==== You're missing the point. The point of focus of this conversation is BD's casual, behind-the-scenes transitions which lack definition, and how to fix them. (There are several of these sloppy, empty transitions.) Character interaction like the kind you see on set is one way to augment these weak transitions. = = = BD's show is artistic, lyrical fantasy inspired by Fellini's oeuvre, not a point-by-point recreation... = = = Congratulations on recognizing the basic thematic focus of BD's show. Your next step is to realize that just because it's a tribute, it's not an excuse for empty transitions without character, activity, emotion or focus. Fellini never had these, and your dismissing it as "a fantasy inspired by" is an excuse for sloppy, lazy "who cares" generation Y garbage transitions. In a college environment, your "interpretation" defense as an excuse for a lack of clarity wouldn't hold water, and frankly would be the laughing stock. === There is little unity in his films. === Focus. In the final moments of this tribute, the guard collectively, and in a unified way, gathers on the table in order to pay homage to Felllni. Are you with us? The ending of BD's show conveys a unified gathering and collective consensus. (The focus at this point in the show is the final agreement by the players in this tribute, not the theme of the artist's individual struggle). The guardwork should be unified too.

General Effect and design look like inexplicable voodoo to the amateur. There, I said it. In general, any competitive art is typically judged on these standard criteria: Technique Execution Conception Interpretation Stage Presence/Professionalism

"sometimes it's not all that deep and doesn't mean a thing." --- In college, this sort of lazy answer gets you an "F". Of course it has deep significance, you're just too lazy to look it up. When we were kids like you, we didn't have Google. We had to listen to a war vet down the street for three hours describe the significance of flag and uniform colors, and help him change his colostomy bag. You're so lucky and lazy, it's disgusting. A Bluecoat, of course, is defined as a Union soldier in the American Civil War. The color blue in a marching uniform, of course, is typically associated with union uniform colors from the civil war. (although some variance in uniform colors did exist, apparently). And in literature, blue typically symbolizes trust, loyalty, vigilance perseverance and justice, as it does in the American flag. Is everyone on here in fifth grade?

Have you been in a movie? I have. When back to one is called, actors talk to one another, crew members point and guide each other, girls fix each other's hair, actors try to reset props and get reprimanded by union crewmembers. We need to see those interactions.

I'd prefer unison guardwork on the film clip flag banners at the end. (We've seen enough individual/solo work. The end is a time for unity and a sense of cohesion.)

Like some kind of throughline?

Be honest, do you know Fellini, at all? Have you seen 8 1/2, Satyricon, or even a poster? Once you do you'll be on board with the following: --Fellini was ridiculed when he started. --He included dream imagery and it changed the art form --He ignored detractors, just as BD will do with you.

At last year's Fathom Events broadcast at Semi-Finals, we saw designers stumble at their show descriptions. Some apologized, some under-explained, and some missed the boat completely (Crown). Let's help the designers summarize their shows in the style of Hollywood pitch men. Clear, concise, and plenty of wow factor. Here are the rules for pitching shows: 1) Set up any narrative elements, clarify your themes and explain any unique design approaches. 2) No apologies. No "we tried." No "we weren't sure." Admit no mistakes. 3) 60 words or less. 4) Capture the passion of the show; the excitement, heighten the emotion; raise the stakes; honor the performers. 5) Avoid detailing the nine symphonies you're playing- Steve will do that with the help of a chyron list on the screen BLUE DEVILS This year's show, Fellini-esque, is a tribute to the great Italian film director Frederico Fellini. You'll see Fellini's abstract, dreamlike imagery throughout. You'll see his film characters. You'll see the flowing white scarves of Claudia Cardinale. You'll see circus elements-- a common theme in his films. Fellini stayed strong in his artistic vision, and he's a great model for these young performers who are dreamers, themselves. We're so proud of them; enjoy the show. CADETS This year The Cadets are performing Aaron Copland's The Lincoln Portrait. You'll hear not just Lincoln, but FDR and John F Kennedy. Our narrator's voice blends in with the famous speeches of these great statesmen who remind us of the American touchstones of courage and unity. By the triumphant end, we feel a sense of pride for our nation's well being, and that's the way it should be. Go ahead, stand up and cheer for these performers-- I'll be screaming right along with you. CROWN This year's space themed show takes us on a trip through space. There are four chapters: the liftoff, exploring space, lost, and the return home. We use trampolines to invoke a weightless feeling, we use an echo effect with our hornline, and we replace our drums in one section with found metal objects. You really do feel like you're in space, and the return home gives you a sense of pride in the planet we call home, well at least for the next few years, anyway. Enjoy.

My favorite show is BD. The level of sophistication is mind-blowing. At first, a movie score bravado almost mocks the broken puppet character, a metaphor for Fellini himself. Then the dreamlike absurdity of the circus captures Fellini's struggle for clarity, legitimacy and recognition in the film world. At the end, the same film score bravado which mocked him earlier ends up paying tribute to him. So complete. So layered. So brilliantly designed.

What we're talking about is "set pieces". Films have them. Those wow moments that are visually impactful and unforgettable. This year, there is a lack of set pieces, but some memorable ones. 1) SCV trombones on pedestals on the front line. 2) BD tambourine dance 3) Cavaliers pulling black souls out of the horn players 4) BD lady in black holding umbrella behind limping Eumolpo 5) Carolina Crown - liftoff 6) Carolina Crown - silent space walk 7) Carolina Crown - use of trampolines, sort of 8) Cavaliers xylophone hopping 9) BD presenting Fellini director's chair 10) BD trumpet fanfare opening, holy sh&% 11) Bluecoats doing trust jump off the triangles. The winner is BD First runner up Crown.

Yeah, figure out the set pieces, and then just have everyone schlep there in a scatter drill during the transitions.

I think Cadets show incorporates too many voices. Too many historical quotes from too many great figures. It's like Lincoln, Kennedy, Roosevelt, Cher and former head of NBC Brandon Tartikoff. Too much. It's really hard to integrate all these voices into a cohesive 12 minute show based on the Lincoln Portrait. The narration feels separate, not integrated. Meanwhile the on-field show is as crisp and passionate as it absolutely can be.

The Bluecoats' show is: -incredibly clean. -a series of set pieces relating to the general theme of the "tilt". -masterfully executed. -the first to marry full volume brass synth recordings with live brass. -slick in its handling of the tilt stage props. The Bluecoats show is also: -Limited in its range of emotion and tone -Limited in its color guard equipment, color changes and range of style. -Without thematic argument. -Without pattern. -Without story elements, although not required. -Without dramatic progression. -Without depth of meaning. -Without cultural reference. -Without ties or reference to nationality, political scenarios, business, literary or historical references, science, the humanities other than music itself, psychology, sociology, architecture, or media. -Without variance in musical genres within the show