2015 Uniforms (All Threads Now Merged HERE)

[Channel3]

I never had a problem with any of it, and neither did any of my fellow performers. We completely trusted our staff and their vision.

Why? Why did you "completely trust" your staff? You shouldn't. Marchers should question every single design element the staff brings forth because designers are lunatics. Designers are often throwing stuff at the wall to see what sticks. They're shooting in the dark, coming up with preposterous experimental garbage, and they need to be held accountable.

For example, I once sat in a Phantom Regiment drill rehearsal years ago where the drill designer was continually adjusting "yogurt blobs" on the field. After about the tenth yogurt blob (his words) adjustment, I would have gone up to the instructors and asked "Does this guy know what he's doing? He's treating us like pixels. He should have done his homework before he brought us into a live rehearsal where he's experimenting." People, it went on for HOURS. Live performers in the summer heat revising, revising revising these seemingly random ellipsis shapes with absolutely no tie to the music, no theme, no dramatic action, no visual purpose. It was just sad. And no one said anything. Hour after hour after hour. Everyone complied. Everyone trusted that he was a visual genius, and they exhausted themselves. Well, he wasn't a genius, and the score reflected it. He was freaking LOST. He was improvising in a live rehearsal. I just find that inexcusable. That's like experimental painting using fresh blood. What's worse, no one peeped. They were all too scared.

Why trust show coordinators and show designers so implicitly? Why aren't marchers more actively involved in the design process? Why don't they object when something is clearly off-kilter or creating second rate junk that's going to sink the score?

When the costumes come out and they're patently absurd, who asks for a meeting? Who actually raises his hand and says, "Can you tell me the inspiration for these design elements and what they mean?" What marcher actually takes a designer aside and says, "I'm not wearing this-- it's just clown-like and doesn't fit the theme of this show."

Kids are too compliant. Too willing to throw themselves into the artistic vision of some megalomaniac designer without questioning why. Why am I jumping off this ramp? What does it have to do with the theme or emotion we're conveying with this music?

When a designer says we're just going to take the word "Tilt" and riff off of it, and make everything Tilt on the field for absolutely no reason relating to the music, or any supposed meaning behind the show, did anyone, anyone question that maybe the theme didn't have depth and that it would affect the final score? Did anyone question that the design team continually asked the horns to lunge, and tilt their heads, and tilt their horns? Did anyone say, "Hey, what's the meaning behind this? What do these ramps mean?" Guaranteed no one did. You know why, because in the extensive interview with the show coordinator, he admitted there wasn't meaning deeper meaning behind it. It was a word choice, it fit the new style of the compositions, and that was it. And no. One. Questioned. It. It was like some sacred dance concert where it's assumed to have great depth of meaning.

It's the emperor's new clothes, people.

Marchers need to question everything:

• How does this costume fit the mood and theme of the production?
• What does this costume evoke in me?
• How do others look wearing these costumes?
• What image do these costumes conjure as relates to the music?
• Why these colors, why these spats, this sash, this accoutrement.
• How does this drill set highlight an aspect of this music?
• How carefully was this drill set chosen to fit this part of the music or the overall theme?
• Why are we continually changing this drill set over and over and over again-- what is the designer's objective and why isn't this working? What in God's name is he going for, and why can't he translate what's in his head onto the field?
• Why are we adding more historical figures to the classic Lincoln Portrait?
• Why are we now changing the show based on judge's feedback, versus the designer's original vision?
• Why are we adding garish colorful banners and vibrant colored set elements to the Lincoln Portrait when the original production concept is based on simplicity?
• Why is our version of Animal Farm angry throughout? Why is there no range of emotion in this piece, and will it hurt our score?
• Why are we posing in a musical theater tableau at the end of Felliniesque?
• Why are we doing a drum corps version of a jazz arrangement of a Russian ballet?
• Will the audience understand why we're twirling elephant tusks and can we make this more relatable?
• Does the audience understand the story behind this Chinese immigrant's story and why he struggled? Is it clear enough?
• Why are we keeping the Gotta Dance character in this show longer than he appears in the original film?

Question authority. Question the designers. Question why designers change their minds when they get judges' feedback. Ask the designers what their thematic objective is. Do they have a passionate, personal reason for selecting this music? What is it? Ask for the reason why you have these props, these costumes, do they fit the theme of the show and why, specifically.

I'm just shocked at the compliance of the performers. This isn't some Russian ballet company where you'll be killed for insubordination. The marchers should have veto power on everything from musical selections to interpretations and arrangement choices, to costumes and props. And above all hold these lunatic designers responsible for the decisions they make which directly affect the placement and artistic success of your corps. Wake up, people. You work way too hard not to question the design team in a professional, constructive way.

[DrumManTx]

Lol.

[GUARDLING]

Why? Why did you "completely trust" your staff? You shouldn't. Marchers should question every single design element the staff brings forth because designers are lunatics. Designers are often throwing stuff at the wall to see what sticks. They're shooting in the dark, coming up with preposterous experimental garbage, and they need to be held accountable.

For example, I once sat in a Phantom Regiment drill rehearsal years ago where the drill designer was continually adjusting "yogurt blobs" on the field. After about the tenth yogurt blob (his words) adjustment, I would have gone up to the instructors and asked "Does this guy know what he's doing? He's treating us like pixels. He should have done his homework before he brought us into a live rehearsal where he's experimenting." People, it went on for HOURS. Live performers in the summer heat revising, revising revising these seemingly random ellipsis shapes with absolutely no tie to the music, no theme, no dramatic action, no visual purpose. It was just sad. And no one said anything. Hour after hour after hour. Everyone complied. Everyone trusted that he was a visual genius, and they exhausted themselves. Well, he wasn't a genius, and the score reflected it. He was freaking LOST. He was improvising in a live rehearsal. I just find that inexcusable. That's like experimental painting using fresh blood. What's worse, no one peeped. They were all too scared.

Why trust show coordinators and show designers so implicitly? Why aren't marchers more actively involved in the design process? Why don't they object when something is clearly off-kilter or creating second rate junk that's going to sink the score?

When the costumes come out and they're patently absurd, who asks for a meeting? Who actually raises his hand and says, "Can you tell me the inspiration for these design elements and what they mean?" What marcher actually takes a designer aside and says, "I'm not wearing this-- it's just clown-like and doesn't fit the theme of this show."

Kids are too compliant. Too willing to throw themselves into the artistic vision of some megalomaniac designer without questioning why. Why am I jumping off this ramp? What does it have to do with the theme or emotion we're conveying with this music?

When a designer says we're just going to take the word "Tilt" and riff off of it, and make everything Tilt on the field for absolutely no reason relating to the music, or any supposed meaning behind the show, did anyone, anyone question that maybe the theme didn't have depth and that it would affect the final score? Did anyone question that the design team continually asked the horns to lunge, and tilt their heads, and tilt their horns? Did anyone say, "Hey, what's the meaning behind this? What do these ramps mean?" Guaranteed no one did. You know why, because in the extensive interview with the show coordinator, he admitted there wasn't meaning deeper meaning behind it. It was a word choice, it fit the new style of the compositions, and that was it. And no. One. Questioned. It. It was like some sacred dance concert where it's assumed to have great depth of meaning.

It's the emperor's new clothes, people.

Marchers need to question everything:

• How does this costume fit the mood and theme of the production?
• What does this costume evoke in me?
• How do others look wearing these costumes?
• What image do these costumes conjure as relates to the music?
• Why these colors, why these spats, this sash, this accoutrement.
• How does this drill set highlight an aspect of this music?
• How carefully was this drill set chosen to fit this part of the music or the overall theme?
• Why are we continually changing this drill set over and over and over again-- what is the designer's objective and why isn't this working? What in God's name is he going for, and why can't he translate what's in his head onto the field?
• Why are we adding more historical figures to the classic Lincoln Portrait?
• Why are we now changing the show based on judge's feedback, versus the designer's original vision?
• Why are we adding garish colorful banners and vibrant colored set elements to the Lincoln Portrait when the original production concept is based on simplicity?
• Why is our version of Animal Farm angry throughout? Why is there no range of emotion in this piece, and will it hurt our score?
• Why are we posing in a musical theater tableau at the end of Felliniesque?
• Why are we doing a drum corps version of a jazz arrangement of a Russian ballet?
• Will the audience understand why we're twirling elephant tusks and can we make this more relatable?
• Does the audience understand the story behind this Chinese immigrant's story and why he struggled? Is it clear enough?
• Why are we keeping the Gotta Dance character in this show longer than he appears in the original film?

Question authority. Question the designers. Question why designers change their minds when they get judges' feedback. Ask the designers what their thematic objective is. Do they have a passionate, personal reason for selecting this music? What is it? Ask for the reason why you have these props, these costumes, do they fit the theme of the show and why, specifically.

I'm just shocked at the compliance of the performers. This isn't some Russian ballet company where you'll be killed for insubordination. The marchers should have veto power on everything from musical selections to interpretations and arrangement choices, to costumes and props. And above all hold these lunatic designers responsible for the decisions they make which directly affect the placement and artistic success of your corps. Wake up, people. You work way too hard not to question the design team in a professional, constructive way.

lol..and tell your boss that over and over and you'll be looking at the door from the outside...lol..This is wrong on so many levels and no formula for success. Just total pandemonium

One can question if a place is right for them for sure, if it isnt you move on. Do this at the next place I guarantee it will end with the same results.

Im sure this should have gone un answered.

Edited July 4, 2015 by GUARDLING

[Cappybara]

Lol.

You stole my response! I guess we'll have to share it.

Lol.

[DrumManTx]

You stole my response! I guess we'll have to share it.

Lol.

Like that's all I have. I usually hate it when people do that. Alas tis but the only words that can pass betwixt my lips. L. O. L. Edited July 4, 2015 by DrumManTx

[Flguardman]

I am dying laughing with this. From a guard standpoint if I didn't have complete trust in my designers/Instructors when I marched I wouldn't have 2 WGI Medals or been in DCI Finals 2 times. Yes kids ask some of these questions but, two seconds later they will forget about it because they have more important things to worry about then a #### unifom, etc... If you're wondering about these things why don't you ask the marchers themselves. All your going to get here is nothing but speculation.

[lindap]

I enjoyed Le Sacre du Printemps and Avian in recent years. One guard Joffrey Ballet, the other guard 'birds of a feather', both with controversial costuming but a delight for me to see

[Cleveland1]

Did channel3 really use the bluecoats as an example of poor design when they placed second and reached their highest placement in corps history? Sometimes a show doesn't need depth to have success. Did 1930 have "depth" to the concept? Remember, this show broke 99 and was, at the time, the highest BD score ever (or at least at finals).

I wonder if the MMs complained enough about the chairs that the designers would have gotten rid of the chair feature, and we would have missed out on the opportunity to have "BD break 99 while sitting down"

I agree that sone things in dci make me roll my eyes, or i find it silly. But its the responsibility of the members to buy into the corps and the concept. Scores arent everything.

[Herk]

What marcher actually takes a designer aside and says, "I'm not wearing this-- it's just clown-like and doesn't fit the theme of this show."

I know others just find your whole screed so ridiculous...the only possible answer to it is: lol

But I wanted to find some answer for you. The problem, though, is that it all really IS ridiculous. So, I plucked out one bit that I can address and hopefully show you why you are just plain wrong.

The answer to your question, btw, is "none". While marchers may have their opinions, no marcher is going to "take a designer aside" and tell them that kind of thing...unless that marcher really doesn't want to march. Because, after the designer verbally smacks down that marcher and then goes to talk to his boss...the Director...that marcher MIGHT get a stern talking to and be allowed to continue marching...or the marcher might just get sent home.

But, you see, there are very good reasons for that kind of thing happening and the foremost reason is this: That designer is getting paid to do his job. It's really just that simple. If the designer doesn't do a good job, he will either be fired or not hired again.

The marcher, on the other hand, isn't being paid to do anything. In fact, their position is just the reverse. The marcher PAYS to get an education. The marcher's job isn't to tell anyone, let alone the designer, what he thinks of the show. His job is to perform and learn.

Now...I'm sure there are some marchers who have skills or expertise that the staff...and maybe even the show designers...are inclined to listen to. For example, in BK's show, NoBeginningNoEnd, there was a guard member who was a very talented dancer. I wouldn't be surprised if the staff did listen to and consider any suggestions he might have made.

But listen to every Tom, Dick and Mary? Sorry...it won't happen.

Edited July 4, 2015 by Herk

[seen-it-all]

These rants remind me of that viral video of the short really angry guy berating that trumpet player who was practicing in the street. (look up "angry man yells at trumpet player" and you'll see what I mean)