Bass Lover everyone has their own opinion but compared to these guys (who have years of drumcorp experience with many of them winning world championships and the best drum and visual techs) NCAT drumline are just show bands that have bad technique
DID HE JUST SAY "From Riverside California"... THATS A GOOD 30 MINUTE DRIVE SINCE IM IN PALM SPRINGS CALIFORNIA ( also, shout out to Palm Springs High School band for being a band :D )
+Andrew Hamrick The show is based off a song called "Mama" by Phil Collins, who provides insight into the meaning behind the piece. "Our manager, when he first heard it, thought it was about abortion, the kind of feeling of the, you know, the fetus, if you like, saying to the Mother 'Please give me a chance, can't you feel my heart, don't take away my last chance', all those lyrics are in the song but in fact what it is, is just about a young teenager that's got a mother fixation with a prostitute that he's just happened to have met in passing and he has such a strong feeling for her and doesn't understand why she isn't interested in him. It's a bit like [British actor] David Niven in The Moon's a Balloon, I don't know if you've read that book, he's very young, just come out of cadet college or whatever, and he meets this quite, you know, 45-year-old prostitute who he has a fantastic time with. He's special to her but it definitely can't go any further than what it is and that's really what the song is about, with sinister overtones. - Phil Collins To offer another perspective, though, if one considers the opening narrative: "Bound is the heart that is broken, a prisoner in my own mind. Bound is the heart is broken, unraveling from the inside," the show (even with the intimate nature of its visuals and the suggestive interactions between the performers) chronicles an individual's struggle with the mental battle/illnesses/pain that transpires after a heavy break-up, with the male performer at the beginning resembling the onset of that inner demon, literally seizing the female in the same way we tend to feel depression grip us - without notice and out of nowhere. As the production unfolds, this unnamed person holds onto warped images of how they wanted/wished this forbidden love to happen in reality ("I know it's wrong to want you/This addiction has turn love blind/From this pedestal, your love will be mine), the blindfold segment representing the way we go through the motions after the end of a long term relationship; a twisted pairing between not seeing the world with your own eyes, but that of the filter of one's own depression (the blindfold) - the lone female in the center - bound within the confines of the metal props, head lowered, clearly in a state of mental duress - all tied to aspects in which we think about the life we used to have with those we loved, or how we wish it could have turned out, even if we're just numb marionettes spiraling even further into when the narrator says "Madness has taken over me" - the confrontation between the female and male performer at the end of this part of the show resembling an individual confronting that warped memory/image of that person head on. Besides, who hasn't been driven insane by their own madness? Anyone that has managed otherwise clearly is above human emotion (or lacking a pulse), but for anyone familiar with deep loss - especially to those we love (even if they don't love us back), it makes perfect sense in respects to the musical and visual development of the program - the lone player climbing towards freedom from their addiction/illness, only to be pulled back into their despair with the rope serving as the thematic grounding point. "So stay, don't leave me, Mama/Cause it's getting so hard/Don't go/Can't you feel my heart?!" In the last portion of the show, the music alternates between its grandiose and epic timbres, an extended snare feature offering a blistering display of technicality and finesse, as the lyrics establish this final turning point, the individual clamoring against their own desires, reluctant to let go of the memory of whomever "Mama" is - whether speaking to the memory of that person, or actually having a conversation with this person moments before they're about to leave for good - it's as if the narrator is living the moments before it all came crashing down. Following the considerable display of sound and raw power, a series of layered vocals whisper about the "love forsaken bound within [their] heart" and as the female performer attempts to reconcile with her turbulent past through a loving gesture towards the male performer, he aggressively responds by seizing hold of her once again, bounding her with the rope and concealing her vision with the blindfold, implying a dark conclusion and how dark desires/twisted perceptions of love/addiction are just as affecting as those tied to a positive and hopeful light - consuming us entirely if we allow it to do so. TL;DR RCC's show is composed of several layers: 1.) Based off the Phil Collins + Genesis song, "Mama", which is about a guy who is love with an older prostitute who doesn't love him back 2.) Also could be about the effects mental illness/addiction following a life-changing/traumatic event, the rope representing the memory/addiction the performers struggle to free themselves from all throughout, along with the key performers adopting their lascivious personalities
Thanks, man! Much appreciated. I was a member of RCC's winter line in 2002 and 2004, and did some writing for the WGI SoCal Regionals and live blogged WGI World Championships from 2008 - 2014. I love analyzing shows and writing about them, but since WGI's gone the social media route, I don't get to gush about the ensembles like I used to - but it was fun while it lasted!
If their little mishap hadn't have happened at semi-finals, I think this would've won. They'd have went on later, the crowd would've been into it, and I think they would have beaten Pulse.
is it just me or do i see the same guy in every single drum line video. the marching smare player and tenor drum playor with the gauges and slicked back hair
+Chris Nott if it had sounded good and they used better technique it would've been a different story. And as for snares playing matched, its WAY more common than tenors doing traditional
I rewatch this show and every second of this show is goosebumps worthy, nothing else can describe how much I like this show lol
I really love this show. Simplistic props that don't get in the way of the incredibly unique and impressive book.
God they move better than any other group, making every step look absolutely effortless.
RCC's visual technique is always nuts, I swear.
NCAT Drumline is better this shit is cheesy
Bass Lover everyone has their own opinion but compared to these guys (who have years of drumcorp experience with many of them winning world championships and the best drum and visual techs) NCAT drumline are just show bands that have bad technique
I get Hella goosebumps rewatching this show...
Still my favorite show of 2016... RCC should have won...
Nope pulse was way better...
+Jokes Lol nah fam RCC
i mean the west coast trashed the east coast. they may as well have, even if pulse got the trophy.
+thisistides97 hey what about the mid-west. Or hell even the rocky mountains.
BrothaNBlue2 it was pretty specifically california.
The. Quads. Are. FLYING.
1:45 - 1:46 was one of the greatest feelings of my life.
y tho
if you're not being sarcastic, he was clearly on bass.
which one?
im guessing 3, could be wrong but it looks like him and makes the most sense.
Yeah I agree maybe even 2
Never thought I'd see the day that Mama by Genesis was used in a WGI show. Legit all the way around!
Great performance, hope to be as great as these performers one day even though I'm a wind player.
Traditional grip on the quads Wtf! Thats was great!
7:14 oh god he's staring into my soul
Woah the traditional grip with the tenors, then the match on snares at parts
Honestly one of the best performances I've seen this year I strive to be like that and I'm half way there so close but so far
was wondering why 9 cymbals until i realized they're actually just the visual team
It's like the prequel to Broken City.
50 shades of heart
DID HE JUST SAY "From Riverside California"... THATS A GOOD 30 MINUTE DRIVE SINCE IM IN PALM SPRINGS CALIFORNIA ( also, shout out to Palm Springs High School band for being a band :D )
daniel castillo RCC = Riverside City College
Mikaela Bryan Riverside Community College
not gonna lie, I honestly thought this was like a low key fifty shades of grey show at first.
+Andrew Hamrick
The show is based off a song called "Mama" by Phil Collins, who provides insight into the meaning behind the piece.
"Our manager, when he first heard it, thought it was about abortion, the kind of feeling of the, you know, the fetus, if you like, saying to the Mother 'Please give me a chance, can't you feel my heart, don't take away my last chance', all those lyrics are in the song but in fact what it is, is just about a young teenager that's got a mother fixation with a prostitute that he's just happened to have met in passing and he has such a strong feeling for her and doesn't understand why she isn't interested in him. It's a bit like [British actor] David Niven in The Moon's a Balloon, I don't know if you've read that book, he's very young, just come out of cadet college or whatever, and he meets this quite, you know, 45-year-old prostitute who he has a fantastic time with. He's special to her but it definitely can't go any further than what it is and that's really what the song is about, with sinister overtones.
- Phil Collins
To offer another perspective, though, if one considers the opening narrative: "Bound is the heart that is broken, a prisoner in my own mind. Bound is the heart is broken, unraveling from the inside," the show (even with the intimate nature of its visuals and the suggestive interactions between the performers) chronicles an individual's struggle with the mental battle/illnesses/pain that transpires after a heavy break-up, with the male performer at the beginning resembling the onset of that inner demon, literally seizing the female in the same way we tend to feel depression grip us - without notice and out of nowhere.
As the production unfolds, this unnamed person holds onto warped images of how they wanted/wished this forbidden love to happen in reality ("I know it's wrong to want you/This addiction has turn love blind/From this pedestal, your love will be mine), the blindfold segment representing the way we go through the motions after the end of a long term relationship; a twisted pairing between not seeing the world with your own eyes, but that of the filter of one's own depression (the blindfold) - the lone female in the center - bound within the confines of the metal props, head lowered, clearly in a state of mental duress - all tied to aspects in which we think about the life we used to have with those we loved, or how we wish it could have turned out, even if we're just numb marionettes spiraling even further into when the narrator says "Madness has taken over me" - the confrontation between the female and male performer at the end of this part of the show resembling an individual confronting that warped memory/image of that person head on.
Besides, who hasn't been driven insane by their own madness? Anyone that has managed otherwise clearly is above human emotion (or lacking a pulse), but for anyone familiar with deep loss - especially to those we love (even if they don't love us back), it makes perfect sense in respects to the musical and visual development of the program - the lone player climbing towards freedom from their addiction/illness, only to be pulled back into their despair with the rope serving as the thematic grounding point.
"So stay, don't leave me, Mama/Cause it's getting so hard/Don't go/Can't you feel my heart?!"
In the last portion of the show, the music alternates between its grandiose and epic timbres, an extended snare feature offering a blistering display of technicality and finesse, as the lyrics establish this final turning point, the individual clamoring against their own desires, reluctant to let go of the memory of whomever "Mama" is - whether speaking to the memory of that person, or actually having a conversation with this person moments before they're about to leave for good - it's as if the narrator is living the moments before it all came crashing down.
Following the considerable display of sound and raw power, a series of layered vocals whisper about the "love forsaken bound within [their] heart" and as the female performer attempts to reconcile with her turbulent past through a loving gesture towards the male performer, he aggressively responds by seizing hold of her once again, bounding her with the rope and concealing her vision with the blindfold, implying a dark conclusion and how dark desires/twisted perceptions of love/addiction are just as affecting as those tied to a positive and hopeful light - consuming us entirely if we allow it to do so.
TL;DR RCC's show is composed of several layers:
1.) Based off the Phil Collins + Genesis song, "Mama", which is about a guy who is love with an older prostitute who doesn't love him back
2.) Also could be about the effects mental illness/addiction following a life-changing/traumatic event, the rope representing the memory/addiction the performers struggle to free themselves from all throughout, along with the key performers adopting their lascivious personalities
Thanks, man! Much appreciated. I was a member of RCC's winter line in 2002 and 2004, and did some writing for the WGI SoCal Regionals and live blogged WGI World Championships from 2008 - 2014. I love analyzing shows and writing about them, but since WGI's gone the social media route, I don't get to gush about the ensembles like I used to - but it was fun while it lasted!
Performing their show, Mamma, WGI Sport of the Arts is proud to present, Shoulder Capes Indoor Percussion
If their little mishap hadn't have happened at semi-finals, I think this would've won. They'd have went on later, the crowd would've been into it, and I think they would have beaten Pulse.
Their digital mixer wouldn't work, and they got an enormous timing penalty that knocked them from being seeded 1st to being seeded 14th for finals.
i was there, it was like 10 minutes
+Brian Tan wait so it took them 10 mins to get it working?
+Angus Hsieh yeah
Malletdude31 what exactly happens?
goated snareline
JIMMY NGUYEN !!!!
who's that?
my instructor, the asian one 0:06
@Jimmy Nguyen
yes
Holy crap, WGI/DCI groups need to do more Genesis songs.
this show should have won
oh yeah mr. butler ??
SGA Drums they probably would’ve won if they didn’t have a timing penalty. They went from being seeded 1st to 14th on finals day.
This video was published on my birthday :D
This show is phenomenal!!!!
also I seriously need a transcription of 2:08-2:30 pls aaaaaaaaaaa
5:55-6:18
The ending makes me feel like I’m watching a fetish film
So we just gonna keep ignoring 2:05 or like????
7:16 BUENO
6:00 oh my lord. gets me everytime.
Amazing!!!
what is the song in the sample ??
is it just me or do i see the same guy in every single drum line video. the marching smare player and tenor drum playor with the gauges and slicked back hair
Nick Denman I think the snare player with the ear spacers played for the bluecoats in the summer of 2016
SynthosHD ya thats where i remember him.
Fuckin' Jammin!
What song is playing throughout the show?
+Fuji Ruiz phil collins and genesis- mama
These shows are slowly starting to look like the The Hunger Games movies lol
Slay
Whats the name of the show again?
oliver soto bound is the heart
Blue Devils Ft. Bluecoats?
Robbed.
Definitly not intense as rhythm X
Robbed
.......why are tenors play traditional grip in 1:53 ? that is just plain dumb
+Chris Nott if it had sounded good and they used better technique it would've been a different story. And as for snares playing matched, its WAY more common than tenors doing traditional
Omg shut up dude