What is Innovative about Babylon?

[Cappybara]

I've seen comments throughout the season calling SCV's show this year innovative and ahead of its time. 

Admittedly, I don't see it. To me, they seem to be doing the same things that Bloo, BD, and Crown have been pioneering the past decade

Body movement, dance breaks, follow the leader, (fantastic) staging, mic'd soloists/ensembles, long melodic ballad, mysterious voiceovers, interactive props, mellophone rips, screamers, no helmets, flexible costuming, etc etc. 

None of these are necessarily bad things. The show itself is fantastic and deserved frontrunner for 1st place. I'm just confused on where people are seeing the innovation

Anyone have some insight? 

[skevinp]

It's certainly new by Babylonian standards...

[POSITIVenrgy]

I think you have to see this show live to get that intangible IT factor. Yes, it has those drum corps elements but it's the sum of those parts that feels different and special. It's like having indescribable chemistry with someone. This show has chemistry. You just feel it when you see it.  And it feels special. And different. (Sorry.....that's not much of an answer to your question )

[phd-student-TTU]

Babylon is about sending a message and SCV is making it very loud and clear. 

[BRASSO]

52 minutes ago, skevinp said:

It's certainly new by Babylonian standards...

 Oh stop with the babel.

Edited August 7, 2018 by BRASSO

[tigger2]

From my chair:

Yes, SCV is capitalizing on innovations and standards set by those mentioned earlier. And, this is of course how the activity progresses and how you win.  I believe the show has and will continue to set new standards between now and Saturday. That stated, I am not sure it is innovation standards or simply really smart programming using full knowledge of all tricks of the trade old and brand new and excellence standards that equal or surpass those from which said tricks have been garnered.

1) vertical alignment on a new level for the longest amount of sustained time, and amazingly flawless at that

2) best front ensemble in the history of the activity considering the tools currently in the designer's and performer's toolbox

3) the development of moving props a million times and doing so in character, with purpose beyond moving something that needs to be moved so something new can be done (This has bothered me for years. Thanks SCV. If I can see you, it is judge-able, right? An opportunity to be creative and artistic.) 

4) Soloists that are equally as good as any ever in the activity, but perhaps a bit better considering the wind range of skills shown, and not two or three folks.

5) Pitch control at all volumes and in key centers beyond B-flat and F (yes, others have done so, but I am not sure such has been done with the percentage of excellence considering some of the key center and harmonic language challenges)

6) It is rare that we get a corps that is not only firing on all three main areas of effect, intellectual, aesthetic, and emotional, but has been doing such since day one of tour. BD came close with INK and Fellini-esque as did Crown with E=Mc2.  But all summer? Every night? Every tune? Every beat and bar? 

That's my take. Oh, and plus, the unexplainable "IT" factor. This production has that in spades. It just clicks. It speaks to your heart and gut. It makes you want to see it over and over and over. It is raw and passionate, gritty and gutsy, confident and bigger than life." It" is what made all of us become addicted to this unexplainable, niche, odd, crazy activity. 

Edited August 7, 2018 by tigger2

[BD 79-82]

I'd say an argument could be made that what makes this show crackle with "it factor" is actually a throwback  - It's designed with the musical score as the central organizing and driving factor, as opposed to the music being arranged to support a pre determined story line or character driven theme / construct.  They really could have named this almost anything and the show would still work just as well (for me at least).  

[Huntington Mallets]

I'm always on the fence of calling something innovative. Ultimately, whoever is top dog will always be innovative, considering they will be the group looked at who will be reflective of what the standard 'should' be in the activity. Is this show really all that different from something like BD 2015 or Bluecoats 2016? I personally don't think so. All are simply great shows achieved at a supremely high level. Is SCV bringing anything *new* to the table? Other than tubas playing jammed out pedal tones during a drum break, no. Great show though.

[Jeff Ream]

47 minutes ago, tigger2 said:

From my chair:

Yes, SCV is capitalizing on innovations and standards set by those mentioned earlier. And, this is of course how the activity progresses and how you win.  I believe the show has and will continue to set new standards between now and Saturday. That stated, I am not sure it is innovation standards or simply really smart programming using full knowledge of all tricks of the trade old and brand new and excellence standards that equal or surpass those from which said tricks have been garnered.

1) vertical alignment on a new level for the longest amount of sustained time, and amazingly flawless at that

2) best front ensemble in the history of the activity considering the tools currently in the designer's and performer's toolbox

3) the development of moving props a million times and doing so in character, with purpose beyond moving something that needs to be moved so something new can be done (This has bothered me for years. Thanks SCV. If I can see you, it is judge-able, right? An opportunity to be creative and artistic.) 

4) Soloists that are equally as good as any ever in the activity, but perhaps a bit better considering the wind range of skills shown, and not two or three folks.

5) Pitch control at all volumes and in key centers beyond B-flat and F (yes, others have done so, but I am not sure such has been done with the percentage of excellence considering some of the key center and harmonic language challenges)

6) It is rare that we get a corps that is not only firing on all three main areas of effect, intellectual, aesthetic, and emotional, but has been doing such since day one of tour. BD came close with INK and Fellini-esque as did Crown with E=Mc2.  But all summer? Every night? Every tune? Every beat and bar? 

That's my take. Oh, and plus, the unexplainable "IT" factor. This production has that in spades. It just clicks. It speaks to your heart and gut. It makes you want to see it over and over and over. It is raw and passionate, gritty and gutsy, confident and bigger than life." It" is what made all of us become addicted to this unexplainable, niche, odd, crazy activity. 

this

[Box5Opinion]

1 hour ago, tigger2 said:

From my chair:

Yes, SCV is capitalizing on innovations and standards set by those mentioned earlier. And, this is of course how the activity progresses and how you win.  I believe the show has and will continue to set new standards between now and Saturday. That stated, I am not sure it is innovation standards or simply really smart programming using full knowledge of all tricks of the trade old and brand new and excellence standards that equal or surpass those from which said tricks have been garnered.

1) vertical alignment on a new level for the longest amount of sustained time, and amazingly flawless at that

2) best front ensemble in the history of the activity considering the tools currently in the designer's and performer's toolbox

3) the development of moving props a million times and doing so in character, with purpose beyond moving something that needs to be moved so something new can be done (This has bothered me for years. Thanks SCV. If I can see you, it is judge-able, right? An opportunity to be creative and artistic.) 

4) Soloists that are equally as good as any ever in the activity, but perhaps a bit better considering the wind range of skills shown, and not two or three folks.

5) Pitch control at all volumes and in key centers beyond B-flat and F (yes, others have done so, but I am not sure such has been done with the percentage of excellence considering some of the key center and harmonic language challenges)

6) It is rare that we get a corps that is not only firing on all three main areas of effect, intellectual, aesthetic, and emotional, but has been doing such since day one of tour. BD came close with INK and Fellini-esque as did Crown with E=Mc2.  But all summer? Every night? Every tune? Every beat and bar? 

That's my take. Oh, and plus, the unexplainable "IT" factor. This production has that in spades. It just clicks. It speaks to your heart and gut. It makes you want to see it over and over and over. It is raw and passionate, gritty and gutsy, confident and bigger than life." It" is what made all of us become addicted to this unexplainable, niche, odd, crazy activity. 

THE SHOW IS SCREAMING "IT" FACTOR! BOX 5 SCORES ACROSS THE BOARD ON FINALS NIGHT!