Absolutely Amazing! Favorite show of 2019. These men really know how to perform. The brass is the best it’s been in years and the guard is simply incredible and underscored. Sorry Madison but this is how you use an all male corps.
@@dctrbrass The performers were incredible. The problem was this show had little substance, musical or dramatic. It featured oddly-dressed turn of the century rail yard dandies, fighting over nothing. There was train imagery, brawling, barrels and railroad ties, but by the end, we weren't sure what the point of the production was. By the end, nothing's changed. That impacted their general effect score. The action on the field didn't make sense, progress, or wrap up. On the 2019 Quarterfinals broadcast, new anchor Lindsey Vento of the Academy praised the Cavaliers' Artistic director Daniel Wiles for "Just doing you." She praised the Cavaliers' show because it was unabashedly nothing more than "face value" in their show about imaginary brawlers in a steam punk rail yard, a la Gangs of New York, (but without any current social relevance.) Appallingly, Wiles agreed with her. He responded by saying "We are an all male corps." Meaning, it's difficult to develop narrative premises for an all male cast. And then he went on to say that last year they agreed that they would stay away from "depth and messages" in the future. (The prior year's uncomfortable and fascist mix of mental illness and gay coming out in "On Madness and Creativity" was a borderline public relations disaster during which no one on staff said the word "gay" all season, even though the marching members proudly belted the concept in a Wainwright song about gay and straight roles in society, wrapped in John Nash's mental illness-induced strings connecting things. Desperate, Wiles came out with a late-season video that claimed that the show was not about mental illness, despite the word "Madness" in the title, and despite John Nash and Anne Adams' well known brain illnesses.) You can see why after stepping in that gay mental illness controversy, Wiles was gun-shy about adding theme, message and meaning this year. Then in the broadcast, Wiles responded to Vento saying that this year he simply created an "arena" for these players, because after all these players "tear up the arena wherever they go"-- a sidestepping comment, and nothing more than a frivolous play on the word "arena". His explanation devolved from there, praising Cesario's costumes which were frankly outlandish, hyper-sexualized steam punk outfits from the 1870s that no more smacked of rough and tumble Gangs of New York than a night at the Moulin Rouge. Wiles tiptoed around the damning evidence that his show concept was painfully under-developed, as evidenced by the out-of-place Road to Perdition quotes from 1931, and an ending where nothing had changed for these dandies in a railyard except they were inexplicably angry for some reason and stood on the barrels. (What was in the barrels, nobody knows, but for sure there was one thing the barrels didn't contain-- meaning.)
Jesu Spectre shows don’t always have to contain meaning. Do they have to be cohesive, yes. This one was that. Sometimes people over think to the point of ridiculousness.
@@jjh2456 When I dress up in a skin-tight steampunk lycra bodysuit and handlebar mustache and hang sideways off a boxcar, it better have meaning. Otherwise we're all going to the looney bin, like tonight.
Thank you for capturing one of the best nights on my life. It’s rare we get to see how the crowds really respond to our shows, and watching this captured just that. Thank you for this. Splooie!
@@MS-df2fk Clearly, selecting a turn of the century style of dress like Gangs of New York, (or earlier if they were going with steam punk influences) and replacing some of the elements with skin tight lycra can easily be misconstrued as a sexualized choice, common in many of today's professional productions like The Moulin Rouge and other films and popular Broadway productions. But the question is why? What is that design choice pertaining to? What's the tie in? What's the era, condition or social construct they're commenting on? What's the point? What's the thematic argument that the costumes tie into? The issue is not in designing anachronistically influenced costuming, but rather why? Even these simple questions reveal that there was a lack of continuity in the production. A lack of cohesion. A lack of thought in the design. Design is not a paella where you add disparate elements and cross your fingers and hope it means something rational to a paying audience. There has to be a clearly defined theme, pattern, and observation about the word, specific, identified and defensible. A clear raison d'etre is missing here. "Tearing up the arena" is not a theme.
This is one show where the emotion was conveyed so well- due to the writing and the performance by the members. Probably my favorite of the year and I am a big Bloo fan too.
geezus... love the end of that ballad... definitely one of the sweetest moments of DCI summer of '19... & big thanks for coming out West this year, Cavies!!
It's kinda just become a staple of the cavaliers. They also did it in 17 at the end of the "Little Green Men" section, which was also a fast, mixed meter, "havin some fun" section
Absolutely Amazing! Favorite show of 2019. These men really know how to perform. The brass is the best it’s been in years and the guard is simply incredible and underscored. Sorry Madison but this is how you use an all male corps.
This corps and Crown were disrespected this year, in my opinion.
@@dctrbrass The performers were incredible. The problem was this show had little substance, musical or dramatic. It featured oddly-dressed turn of the century rail yard dandies, fighting over nothing. There was train imagery, brawling, barrels and railroad ties, but by the end, we weren't sure what the point of the production was. By the end, nothing's changed. That impacted their general effect score. The action on the field didn't make sense, progress, or wrap up.
On the 2019 Quarterfinals broadcast, new anchor Lindsey Vento of the Academy praised the Cavaliers' Artistic director Daniel Wiles for "Just doing you." She praised the Cavaliers' show because it was unabashedly nothing more than "face value" in their show about imaginary brawlers in a steam punk rail yard, a la Gangs of New York, (but without any current social relevance.)
Appallingly, Wiles agreed with her. He responded by saying "We are an all male corps." Meaning, it's difficult to develop narrative premises for an all male cast. And then he went on to say that last year they agreed that they would stay away from "depth and messages" in the future. (The prior year's uncomfortable and fascist mix of mental illness and gay coming out in "On Madness and Creativity" was a borderline public relations disaster during which no one on staff said the word "gay" all season, even though the marching members proudly belted the concept in a Wainwright song about gay and straight roles in society, wrapped in John Nash's mental illness-induced strings connecting things. Desperate, Wiles came out with a late-season video that claimed that the show was not about mental illness, despite the word "Madness" in the title, and despite John Nash and Anne Adams' well known brain illnesses.)
You can see why after stepping in that gay mental illness controversy, Wiles was gun-shy about adding theme, message and meaning this year.
Then in the broadcast, Wiles responded to Vento saying that this year he simply created an "arena" for these players, because after all these players "tear up the arena wherever they go"-- a sidestepping comment, and nothing more than a frivolous play on the word "arena". His explanation devolved from there, praising Cesario's costumes which were frankly outlandish, hyper-sexualized steam punk outfits from the 1870s that no more smacked of rough and tumble Gangs of New York than a night at the Moulin Rouge.
Wiles tiptoed around the damning evidence that his show concept was painfully under-developed, as evidenced by the out-of-place Road to Perdition quotes from 1931, and an ending where nothing had changed for these dandies in a railyard except they were inexplicably angry for some reason and stood on the barrels. (What was in the barrels, nobody knows, but for sure there was one thing the barrels didn't contain-- meaning.)
Jesu Spectre shows don’t always have to contain meaning. Do they have to be cohesive, yes. This one was that. Sometimes people over think to the point of ridiculousness.
@@jjh2456 When I dress up in a skin-tight steampunk lycra bodysuit and handlebar mustache and hang sideways off a boxcar, it better have meaning. Otherwise we're all going to the looney bin, like tonight.
Jesu Spectre well then go right ahead.
Thank you for capturing one of the best nights on my life. It’s rare we get to see how the crowds really respond to our shows, and watching this captured just that. Thank you for this. Splooie!
We love the Cavaliers! :)
Go State!
What was your show about? What were you capturing? Why?
@@MS-df2fk Clearly, selecting a turn of the century style of dress like Gangs of New York, (or earlier if they were going with steam punk influences) and replacing some of the elements with skin tight lycra can easily be misconstrued as a sexualized choice, common in many of today's professional productions like The Moulin Rouge and other films and popular Broadway productions. But the question is why? What is that design choice pertaining to? What's the tie in? What's the era, condition or social construct they're commenting on? What's the point? What's the thematic argument that the costumes tie into? The issue is not in designing anachronistically influenced costuming, but rather why? Even these simple questions reveal that there was a lack of continuity in the production. A lack of cohesion. A lack of thought in the design. Design is not a paella where you add disparate elements and cross your fingers and hope it means something rational to a paying audience. There has to be a clearly defined theme, pattern, and observation about the word, specific, identified and defensible. A clear raison d'etre is missing here. "Tearing up the arena" is not a theme.
@@jesuspectre9883 ruclips.net/video/GB9T5YQt9LA/видео.html
That wasn't you replying to Ben's comment?
This is one show where the emotion was conveyed so well- due to the writing and the performance by the members. Probably my favorite of the year and I am a big Bloo fan too.
The Cavies had THE ballad of the year. Some amazing stuff right there.
I love the low brass! Very strong bottom end.
geezus... love the end of that ballad... definitely one of the sweetest moments of DCI summer of '19... & big thanks for coming out West this year, Cavies!!
My Lady Friend and I saw their show and Cavaliers tore it up. Their show is no joke!
Have to say I didn't expect anything amazing from Cavies this year. WOW was I wrong. Best show since Samurai IMO.
samurai? That’s an expansive gap
MY GAWD DO THEY SOUND GOOD
Well deserved 3rd place in brass finals night. The Martins and Kevin have done wonders with the brassline….
I was a few rows behind you LOVED this show -- when the men in the guard hurled those rifles out at the end was visual brilliance! Thank you!
Yeah, I think we were in Row 14. I usually prefer a little higher.
You have to love Kevin Laboeuf watching and listening. The man has such a passion.
I love watching Kevin run around on the front sideline, he has the most energy I've seen out of a BCH in a long time.
I was there. They were so clean it completely blew us away.
As an alumnus I couldn’t be prouder of the current members!
I love that you can hear the lady say "Jesus" at the unison sabre toss at 4:03. Same
"Jesus" at 4:30.... lol love it
Can we talk about that color guard though...... Holyyyy cow!
that front is so aggressive.. man I miss this
They really did rush the front sideline like 6 years in a row lol
What happened to the back stands at Allentown? Out for good, or stadium remodel?
Not bad for a Samsung S7 !!
7:17 Was that a nod to their 2004 show?
It was
It's kinda just become a staple of the cavaliers. They also did it in 17 at the end of the "Little Green Men" section, which was also a fast, mixed meter, "havin some fun" section
Some asshole gave it a thumbs down. Go fuck yourself. :)