E82: 82 – Routine Review: Bull Bhangra (feat. Saagar Menon)

All right, sup y'all, welcome to another episode of the Bhangra to Podcast.

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Today we got another critique session going on.

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Saag, don't you introduce yourself then, so we can hear it after.

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What's up?

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I'm Saagar I'm the resident old man that comes to every competition to drink.

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Something about your background, who you are, not everybody knows who hell you are, dawg.

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What teams have you danced on?

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What if I like it that I've danced for a bunch of teams throughout the circuit, but my

main team was First Class Bhangra out of Pittsburgh, Pennsylvania.

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Was captain for four years, still helping set design and mix stuff.

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So kind of behind the scenes is I get older and older and my knees don't work.

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Yeah, my name is Suvan I'm the captain of Bull Bungra.

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We just competed at Magic City Maza and we competed at ATL Tamasha in the fall.

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We're a new coming team and just kind of looking for some guidance and how to progress

best.

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yeah dude.

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Where is Bull Bungra from?

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Tampa.

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Tampa College.

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What's- USF.

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Tampa.

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Okay.

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Did USF-

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Gator is Miami, right?

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Gator is, it's UF and then University of Florida, we're University of South Florida.

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Cool.

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Cool.

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Let me put it on the floor.

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All right.

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So for anybody who hasn't listened to the other one slash if I didn't, if I post this one

before the other one, the way, so this, the way this works, if you're a team, any team,

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doesn't really matter, why not get some critiques?

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It's usually me and then some other judge so that we get some new thoughts and ideas.

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And where this goes is just basically a hour long critique session with whatever team you

want.

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And today Suvan asked us to just go over the set specifically, kind of focus more on the

set.

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They're younger team, so the lack of execution is pretty self-evident.

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But we're to go through the set, break it down, ask questions.

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He's going to ask us questions, and we're going to see what we can all learn from this

whole process.

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So let's start it.

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you

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you

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Well, so I guess the first thing prior to even getting kind of deeper into the set too is

what did you want to show the audience kind of big picture with your set?

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What did you want them to remember and take away from like a newer team's performance?

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Yeah, so I mean, my thing this season was team identity, we kind of tried to lean into

like a more like, we're fun, we're gonna have fun on stage, we're gonna show you that

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we're having fun, and we're just have like fun moments and like things that are like not

necessarily done by maybe like something that's not too easy, but something that's not too

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like folk in a sense.

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So I try to keep that middle ground.

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Our sub segment and intro was kind of us, I wanted to come out with like a very like,

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Like we can do Pogada, like that's, we wanna show you that we can do Pogada and now let's

put on a different type of show.

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So, Saps was kind of different from that team identity, in my opinion, but specifically

for our set, I was just trying to have fun with it and show everyone.

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Nice, for sure.

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So I actually really liked your intro.

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think if the thing is like when you watch the choreo for what it is without listening to

the mix, the flow was super nice.

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Like you got through, it was short, it was simple, and it got the job done that you guys

are here to like really accentuate and knock things out of the park.

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The thing is like with your mix, when you actually hit like the first jaw and then the

floating back right afterwards,

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There is no differentiation between how it started and the drop, if that makes sense.

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So you kind of stayed like all the levels of the mix were super full and they stayed full,

if that makes sense.

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So there wasn't that extra bit of like, let's pop, let's really bring it.

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And I think that like, if you look, you did a great job with choreo on the intro to set

the tone and the, way that you can elevate it and really make it stand out is make sure

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the mix highlights that too.

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So maybe in like the buildup, can drop one or two levels and then bring back that full

huge sound right at the drop to really accentuate the big moments that you want.

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And so that was where I thought that intro fell a little bit flatter for me just because

there was, it didn't provide that secondary like, Bop, we're here to like fuck shit up

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essentially.

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Yeah, that makes sense.

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honestly, like in your execution through like intro and stops, wasn't terrible.

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Like you guys are a new team, obviously.

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And like, you guys are coming with a lot of energy out of the gate.

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doesn't like know what, no one person is more energetic than the other person.

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The only thing is like very visibly, if you're going to highlight people for a drop, you

have to make sure that they do the drop the same way.

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So if you watch, when you start the floating back, our Feroz, Jody and the green Jody in

the front.

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who like our eyes are drawn to, our frozen Jody's legs are going a lot wider than the

green Jody's legs, if that makes sense.

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So visually right off the bat, that's like one of those things.

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Yeah.

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So, yeah.

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So in the floating back, you can like see as we're kind of face through it, the frozen

Jody's legs obviously spread out a little bit more, whereas the green Jody is a little bit

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more narrow.

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so like, aside from the execution point, that is also one of those moments that's like

supposed to be memorable about your intro.

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Right.

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So you want to make sure that across, like across the board, if they're highlighted as a

Jody, that that should be like, bang, they're together.

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doing it the right way.

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And honestly, like that's one of those moments that you just kind of keep running and

running and running and running until it looks like the same across the board.

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Umar, you have any thoughts about intro?

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Yeah, so this is something that, this is kind of my analogy I use for every set and I will

hammer this home until I'm dead.

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Whenever you're thinking about any kind of set or any segment, the big thing is contrast.

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In order to make any moment pop, you have to have a change in some way between the moment

you want to emphasize and the moment you don't want to emphasize.

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So for example,

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you're going really, really fast and the drop, you go slow.

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Like that's the reason why jaw drops generally are really easy to like at least have a

moment because generally you're going from dancing relatively taller and like at a faster

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pace and then you get low and it's also slower.

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So there was a clear indication like, there was a change.

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And, but you can do that in a lot of different ways.

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You can go from having a lot of different formational movement to everybody doing the same

formation at the same time and in place.

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you can go do levels where like everybody's dance at the same level then like then the

drop is somebody or some people are jumping and some people are doing back like those are

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ways to or like speed up slow down.

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Those are ways to like increase contrast.

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And so one thing I will say, but at the same time, you have to pick those moments right

and you have to be and you also don't want to kill momentum.

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I think one moment where I felt like

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you

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There's this moment right here.

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If you, like, other than the fact that you went down and stopped, like, it just, it felt

kind of random.

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There was no lead in up, it lead into the fact that you're about to do that.

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And so you just kind of went down, like you're going at one pace, you stopped, and then

you went back up to the exact same pace.

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And so the thing that like, it like, weirdly enough, like the way I was thinking about it,

was like, did you want me to pay attention to...

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the time you went down or did you want me to pay attention to the drop?

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Like that's what I was thinking.

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And so I think doing some kind of buildup to kind of.

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Tease the fact is going on another thing that I say a lot is like tension and release like

you need to create tension within the audience That likes hey something's about to happen.

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Something's about to happen.

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Something's about to happen.

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Something's about to happen but the thing is you it just There was no like happened

teasing the it just happened and then they just happened and like I was like, okay I don't

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know the other thing

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So think about that whenever you're making things like what are some ways you can

telegraph that I'm about to do something like soccer said you can do that through the mix

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you can do that through like lowering the number of levels to hey hey wait the mix just

like change all of a sudden all like a bunch of sounds dropped out and then you bet you

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ratchet it back up with making bring that full sound that's a fantastic way to telegraph

and honestly a lot of telegraphing does come down to what mix and music selections yeah

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the other thing I would like to bring up I

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I feel like you wanted this to be a moment, but it wasn't and...

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I think it was here.

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I have no idea until the third time I watched it, like you did this.

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It was.

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Yeah, it was just too fast.

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It was too fast.

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Again, you didn't telegraph that you're about to do something.

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And so like, I wasn't even like, I wasn't even, I didn't know I was supposed to pay

attention to that until like, oh, oh, look at that.

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Okay, cool.

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I'm not really sure how you could make that different.

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Maybe you like bring like make you bring the dancers together and like, put the put the

subs kind of closer together.

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So it's like, oh, they're doing something.

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Yeah.

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That might have made it a little bit more like

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visible that like did something.

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So yeah.

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And sorry, going back to that, like the initial diagonal that you guys did where you kind

of shamed down, I thought that was a really cool moment until you guys like stopped,

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right?

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So one of those ways to think about it, right?

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Is like, that's not like necessarily a new like formational idea or a new concept or

layer, right?

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So think about how you can make that your own.

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So in a way, like if you think about it, it would have been one thing is just like,

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just comes to the top of my head.

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Like if you do that shing and immediately reverse the shing back and then like, it makes

sense in my brain.

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I don't know how to like visually depict it, but as soon as you go shing, if you reverse

the shing back before you like spin into Jyotusinga, you could create a really, really

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dynamic moment where it's like, okay, it's different from what I would expect.

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And it just kind of adds another layer of like creativity.

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And I would say like,

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your formations are pretty solid.

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You guys are moving around a lot.

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You're making new shapes.

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So I think you're doing a really good job with that.

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And think of formations as a way to highlight what you're doing.

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So say you have a simpler drop.

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So say you have a subjadu singha drop, which is pretty standard across the way.

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How do you make it unique?

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You can elevate it with your formations.

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And so I really like what you guys did.

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I just think you could have made that build up a little bit more dynamic.

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to kind of bring it up and be like, shit, you know, this is something, this is a newer

idea that we're bringing into just playing soft java singha, if that makes sense.

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No, yeah, I And I also want to point out this is like this like this formation is like

technically very difficult to do.

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Like moving Jadu Singas while also moving in a shape that stays the same shape that is

like, like what I saw is like I was impressed.

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I was like, damn, that's like, like, I know I've tried to run that with FCB like that shit

like takes time.

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And especially with a bunch of younger dancers, Jadu Singa is a very difficult move for

younger dancers to do.

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So the fact that you pulled it off and understand what was going on, like kudos to you.

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That's like, that's very good.

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Also, you guys see this variation right after you guys turn your subs backwards.

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We go out, out, clap, clap, clap.

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I thought that was super unique.

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But again, like Umar was saying, it took me two or three times to watch to realize that's

what you did.

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And so when you do variations like that where you really want to highlight, we're being

creative, we're doing our own thing, we're staying within what our avenue of creativity

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is,

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let it marinate with the audience, right?

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So in the blink of an eye, that moment is gone, right?

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So like a way you can extend it is just repeat that, like repeat that process two times so

that the audience can actually see what you're doing.

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And it's not one of those moments where like, if I, if I was watching this video or

watching this live as a judge and I blinked, I could have missed what was like a pretty

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cool variation.

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So you always want to leave time for like your cool things to marinate.

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If that makes sense, let, let, let it wash over the audience.

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at least for like four to eight count or like at least eight counts so that we can see

what you're doing and process it too.

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Otherwise, the time we process it, we're already seeing the next steps, if that makes

sense.

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Okay, I have a question real quick.

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Yeah.

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So in terms of letting things like marinate and like kind of presenting things so that

everyone can see it.

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Do you think where we are on stage is an issue because a lot of things that we talked

about, it's not like right on the center or like right in front.

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But because I kind of struggle with filling the stage because we're kind of small.

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So and we're 12.

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So filling the stage is kind of difficult for us.

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So I end up having to put up a lot of the stuff, like either in the middle of stage or

like side of stage, just so the stage looks more full.

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So is there a way to like highlight your moments without losing that, like filling the

stage formational aspect of it?

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I don't think, like, I know a lot of people will get like very nitpicky about like, no,

man, it gotta be like front 20, like front 25 or like front zero, like in terms of like,

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make, if you wanna highlight a moment, you've gotta like have it there.

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I don't necessarily think so.

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I think the big thing, I'm being a nerd here, design nerd here.

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So there's this concept called Gestalt Principles.

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And what it tells you is basically how to group things and very deliberately keep things,

if you want things to look grouped together, grouped together, and things look different,

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different.

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I think this right here, for example, is perfectly fine.

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My attention is on the people that you are deliberately pointing me to.

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You're filling up the stage fine.

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There's a good, there's a decent gap in between like the outside and like the focus.

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And so I think this is perfectly fine.

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I think the big thing is just like, whenever you do decide to highlight something, you

need to make sure that it is very obvious from a judge's perspective.

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Is that what I want them to pay attention to?

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And again, best way you can do that, just like run it by somebody else.

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Just like somebody who's like not explicitly dancing on your squad.

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Maybe you're like, and I'll say it could be your mom.

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Like, or like anybody who doesn't know how to do barter, just like show it to somebody

like, Hey, like, does this look distinct?

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Because if the random random person on the street can tell you, yeah, yeah, I can tell

like, I looked at that when you showed it to me.

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And then, yeah, you did it.

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Like that's exactly what you need.

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Yeah.

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That makes sense.

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feel like, sorry, yeah, I feel like it doesn't really, it doesn't really matter where you

are on stage.

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Sure.

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Like, sure.

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You know, if you have like really good dancers that execute the drop or the, whatever you

want the best, obviously put them in the front somewhere so that they're like the most

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visible to see.

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It doesn't really matter at which point of stage you are, as long as you give like, the

problem is think a lot of people try to do a lot of variations in a really short amount of

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time.

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And like, when you do that visually,

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There's like, there's so many things going on that as like a judge.

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Yeah.

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It's overwhelming, right?

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You can't process how creative each move is.

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So at that time we talk about like how you frame something, right?

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So say you have a variation on sub-jadu-shinga that you want to, that you want to like

highlight, right?

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You want to bring what happens before it to be digestible, right?

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It doesn't have to be like super wow out of your pocket.

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It just has to be enough to keep the audience watching and kind of building them into

seeing, shit, this is what I want.

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This is what they're about to show us.

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This is what they want us to process.

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Right.

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And then the afterwards too, right?

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You don't just throw like variation after variation after variation, because then you kind

of lose like the initial impact of your creative moment that you wanted to highlight.

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So you kind of like raise and lower the bars of like what you want to do.

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And it comes back to that same concept.

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talk about intro to like with the mix.

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The same thing applies for choreography, right?

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If you're going to have a really, really complex drop, then you want to simplify kind of

what's coming before.

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Yeah, exactly.

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Because that way, that we know that that creative moment is what they wanted to highlight

and what they wanted us to really process and digest, if that makes sense.

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No, I get that.

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It's really hard to do, I guess, but I know what you mean.

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For sure.

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Another thing I like to say is that you kind of want to pick seven, like realistically,

like seven to 10 moments throughout your entire set that you want somebody to remember.

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That equals to about one to two moments per segment.

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And so in my head, the places I think about placing

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Moments I want people to remember is like right at the beginning of the transition like

right at the like beginning at the end of the transition that Transitions of next segment

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like so that the transition kind of opening The build up the drop and then the transition

out like those are like four moments.

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I'm always thinking about like things to like timing to Place things that I want people to

remember about an interesting formation during the transition Maybe a like a really simple

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build up a drop and then an interesting transition.

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Those are three seconds, three moments that I like I picked in that segment that I wanted

somebody to remember, but I pick one of them to like be like really stand out.

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That equals to about so another thing, Rom used to tell me so he's one of the founders of

FCB.

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You'd always say you want to have something you you basically want to have something

happen every 30 seconds 30 to 45 seconds.

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then you lost the judge and they're gonna say like, hey, there was a lull in your stings.

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When you have one or two segments that don't hit back to back, that's easy.

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Just impact, set, it goes down immediately.

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So think about that as well.

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And one way to do that, really easy, cut stuff.

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If stuff isn't hitting, as long as you're hitting that dancer minimum, just cut it.

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If it doesn't need to be there, cut it.

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Everybody's stamina is better.

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You're gonna dance, but like it's fine.

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So yeah.

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Another sorry one last thing I want to point out here If you're stop the momentum of

everybody else to highlight One thing like a certain group of people you have to make sure

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that what they're doing is like Super super cool and that's like my personal opinion like

I thought this was this was cute, right?

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It was cute, but it wasn't like something that I would have necessarily stopped everybody

else on the side of stage Does that make sense?

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Like I get your I get like a point

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of highlighting them, but there should be something that the outside dancers are doing.

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Even if they're just doing some inward motion to focus, just to keep moving and not just

stop the momentum, if that makes sense.

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Okay.

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Sorry.

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No, you're good.

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want to hear it.

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No, I was just saying like, it's hard because like, again, also with this framing that

you're doing, they're holding the subs in a way that we can't actually see them in this

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one screenshot, right?

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So like, obviously as they start turning, you can see it, but it's like, I feel like it

wasn't a big enough moment to pause everything and just stare at them, if that makes

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sense.

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I think you can, I think that's one moment where you can think about what they're doing

and see how you can elevate it to the next level.

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Yeah, actually, Garten and I talked about this.

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I think we asked him if it was like, instead of having them like this, could we have them

like this so they could, because what's happening is they're switching subs.

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So in this way, the audience can see for all eight beats that the sup is getting switched.

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Because instead of having a body cover it for more than all of the time, we talked about

that.

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But I also get what you mean by the sides.

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But an easy way you could do this is like, okay, hold on, let me back up real quick.

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So instead of going down, just have them start out further.

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then just like, can literally have them just, instead of doing like a, have them a little

further out on stage, so you know they're a little bit like over here.

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You have them out and then just like slowly have them come in.

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And just maintain the spacing so that the highlight, like two like semi-circles.

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So like two semi-circles right here and right there.

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They're getting a little bit closer.

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They're drawing the eyes towards the thing in the center and you don't have them like

fully stop dancing.

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I see.

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Yeah, okay.

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But just keep, like instead of them doing nothing.

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Because when you stop dancing, that's like something better be happening or like I'm just

like you took a break.

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That's the thing that goes through my head.

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It's like.

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It's the end of a sub-segment, you wanna give them a breather before they go into the next

thing.

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I promise that's not what I was trying to do.

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It's all good.

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Same.

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Yes we do.

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Alright.

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I'm

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This is a thing that I just like I really think this is everybody should be stealing from

the UK is just like put a lot of thought into your transitions I think transitions are

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really easy way like easy places because nobody else puts on the transition you put like

I'm not even saying like do it do something not so I'm just saying like put like just like

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do something some interesting hand off as you're passing it off passing it off like

Immediately, I'm gonna remember this

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because it's like, oh yeah, they're the only team that did something cool during the

transition.

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That's an easy point way to distinguish yourself from the rest of the competition.

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That's just a thing I have, but yeah.

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Okay, wait, can I?

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Yeah.

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So with this, because I agree with the whole transition thing, that's why I had these four

come off and then come off while we're exiting so that the audience is never just looking

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at everyone dropping off subs.

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So are you saying?

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like maybe more could have been done?

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more, yeah, yeah, yeah.

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I mean, like, I appreciate what you did because yes, there wasn't a point where like

nobody's on stage.

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But I think, I don't know, like do like a circle, like instead of just having them go

across and drop off, like maybe have them like circle around and then drop off or like,

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you know, like, you have two lines here.

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So like maybe do some like interesting, like they, like this line comes in, this line

comes in, they go back and then across.

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Just like some movement.

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while these guys are putting their subs down so that, yeah.

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Okay, yeah.

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That make sense?

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Yeah, I'm just brainstorming.

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Cool.

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Also, I'm gonna be selling stickers soon, if you want one.

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Yeah, you should buy some.

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For like bottles?

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I don't know, man, I'm just gonna make stickers.

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could be for, I have one on my laptop, I just don't wanna pick it up right now.

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yeah, yeah, stickers, have fun.

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Yeah, so there's this concept when you're making a set about like when you get into a

certain rhythm, you start seeing the same elements over and over again.

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And so one of the things that's like in your first three segments is that you've

highlighted a single or a double Jody in every single one of your segments since you

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started.

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Right.

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So you had the intro back, you had the sub stuff and now you have, frozen in the front.

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Right.

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So like,

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As I keep seeing those repeated things, it loses its novelty and it's its initial hit, if

that makes sense.

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Right?

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Because every time I see it, it makes the other one look, okay, they're doing it again.

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They're doing it again.

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They're doing it again, if that makes sense.

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I want to say I fucking love this song.

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I think this was a banger song choice.

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And like, from a personal standpoint, and like, this can stay in this recording or not,

but like,

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Think about like the steps that you're also putting in and when the last time teams have

done things like this.

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So like you have the whole hip pulling mechanism going on and DJ just did that.

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yeah I saw it like I saw it after I made it and I was like aw shhh

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No, you're good.

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it's like, it's just like, like not all judges watch Bhangra videos ever.

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Right.

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So yeah.

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So like not everyone's going to be able to pull, pick stuff out like that.

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Not everyone's going to say anything about it, but just like that.

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That's just something to keep in mind in the back while you're making your own sets.

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think it's like, I think it's personally super great to always be knowledgeable about what

has happened in the circuit, what people have done when you're taking inspiration from

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like any step, any set, whatever.

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Just keep in mind that people are judging that have been on those teams too.

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So it'll immediately trigger a reaction in them.

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So it's always good to be up to date on Bungra segments or Bungra that has been done

recently too, just because.

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Especially especially like look up your day and look up your judges who did they dance

for?

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okay.

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It's it is always funny because the cling is I Know I keep referencing going on this

fucking podcast.

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I'm sorry I've like just like he like taught he's like one of the people who like taught

me how to judge but go into been around forever He also judges a few like bigger

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competitions and so like he will call you out on stuff You didn't even know you took from

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Just keep that in mind, if your judge is older, I'm not saying go watch every single set

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memorized all of those.

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And so make sure, even if you think you didn't, even though you probably didn't literally

take it from their set, if they did it once before, make sure you didn't accidentally take

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it.

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Such a good practice.

369

Yeah, when you told me Saga was on the call, I was like, oh, we're cooked.

370

No.

371

I like seeing it, right?

372

means like things are fun.

373

I like watching fun stuff.

374

And I think this segment does a really good job of showing, you know, what you're trying

to, you know, give to the crowd, what you're trying to tell the crowd about BOLBANGRA and

375

what you guys stand for and what you guys want in your set design.

376

The one thing for kind of this segment is I know it's supposed to be cutesy, but the drop

was really like, was really flat for me.

377

There was like...

378

There was nothing that really was like, okay, this is super dope.

379

Like even with, within the realm of, you know, a, like a quote unquote softer segment

coming out of subs, this is still like the drop didn't really do anything for me.

380

Uh, and that might be like a personal thing, but always make sure that like, there's

something that's like, that gives it a little bit of backbone, you know, I don't know if

381

that makes sense.

382

But I think one way you could easily make that drop hit harder.

383

So one, I recommend everybody in the Pumperna circuit watch hip hop videos, go watch vibe,

go watch all those life performances.

384

You get so many ideas.

385

One thing I noticed that any time, any time a team like comes together and does some quick

like, like something really slick, really tiny, they clump up together.

386

I think.

387

Again, like you were talking about like you like for the entire performance you're like

like taking the up the entire stage if you got together and like shoulder to shoulder

388

pretty much and like occupy like like right next to each other and did this like I think

it would hit harder because like like everybody's focused on this tiny clump and so if you

389

do something tiny you're gonna notice it because right now you're too spread apart and it

just it looks really the movement looks really small because everybody's so spread

390

Okay, yeah, I agree.

391

Yeah, also real quick, with the whole highlighting Jordy thing, with this segment,

actually, I took inspiration from you guys at Berg last year, your Chal segment.

392

think every eight beats, there was a new Jordy coming up.

393

So we tried to kind of do that here with like, green Jordy, now Frozzy, now blue, now red.

394

We tried to kind of do that.

395

That was kind of my vision with this specific segment.

396

But then, yeah, now that you say it, realize I also did it in Sups too, and I'm gonna do

it in The Mall, and I'm gonna do it in Chillmer.

397

So I guess I just did it too much, but I get it.

398

one like fun idea, like that I was thinking about, so if you listen to the mix here.

399

You have this like, and you're literally almost playing patty cake, dude.

400

Like it's right there.

401

It doesn't be like, know, like it's just like, you're, you're having some fun with it,

just like do something stupid like that.

402

It'll, it'll make at least half the judges like giggle and like a giggle is good,

especially this is exactly one those things I was talking about, like a transition.

403

Something that like can like, Sid has this like phrase he's like golf claps versus like

404

gut punches.

405

So, for example, if you want the drop to hit, but you want other stuff to be memorable,

goth claps.

406

Like, yeah, yeah.

407

Like, the Leonardo DiCaprio meme where he's just like, on the couch.

408

It's like, right, yeah, I see that.

409

Yeah.

410

like, transitions are great moments for that, where it's like, that was cute.

411

That was nice.

412

That was slick.

413

And then you want like a gut puncher, it's like, shit, fuck, that's crazy.

414

So yeah, but like that was right there for me.

415

anything else from this sec-

416

Also, while Umar is thinking about that, take everything that we're saying with a grain of

salt.

417

Obviously, Umar and I were built in the same kind of environment of how we look at set

design and stuff too.

418

So obviously, things that we say are going to be part of our personal background with how

we think about things and how we look at things.

419

So take everything with a grain of salt.

420

are not like, all, be all, this is how it should be done, et cetera.

421

Keep your identity and what you want.

422

of this and like just use the parts that you find are very helpful if that makes sense.

423

I just want to put that just clear to any teams any people listening to this that we are

not trying to be end-all be-all we're just these are just opinions.

424

Yeah, I like this little dick formation you have going on here.

425

Yeah, yeah.

426

yeah, yeah.

427

Okay, I have nothing else add.

428

You wanna add anything before we move on?

429

Now we can move.

430

Cool.

431

Yeah.

432

So I actually really, really liked how you moved your circle.

433

I thought that was a really, really cool way to open up your them all segment and like

just create movement while doing simple steps.

434

I thought that was a really, really good use of stage space, really good use of like your

formations in general.

435

think like that's a new way to move a circle that not a lot of people do.

436

I felt like...

437

Again, it's just like one of those things where it's a semi repeated element where you

again kind of went left to right down the diagonal.

438

so it played a role again here.

439

then I'm thinking back to the first time that you did it in subs and I'm like, okay, they

could have done something.

440

I, I, I like this.

441

this is also, I believe the second time that you're doing baby also against the stupid

nitpicky stuff, but like, these are things to think about when you're constructing the

442

overall picture of your set.

443

Like.

444

don't keep using the same steps over and over again.

445

just like, it feels like you're just throwing them in there to be there, if that makes

sense.

446

And there's like, there's ways to get through all segments without repeating steps.

447

You just have to like, it just takes a little bit of time to kind of think through it.

448

Other than that, I thought this was a fine segment.

449

There wasn't really anything that like, I felt was super, super impactful.

450

Like on the first and second watch, I think this might've been like,

451

kind of the point where things may have gotten a little bit softer.

452

And kind of watching wise.

453

But it wasn't like, there was nothing that stood out that was like, this is really bad.

454

If that makes sense.

455

this is probably one.

456

Sorry, this is probably one that you can go back to like the drawing board with to kind of

see, know, what are the moments in this segment that I want?

457

everyone to pay attention to that I think are really nifty, really cool, really represent

us.

458

How do we make those moments stand out?

459

And I think you can walk away with a completely different segment without like.

460

Damn, this wifi sucks.

461

Mine.

462

Or your Wi-Fi.

463

Yeah, okay.

464

Thank you.

465

but yeah, like I saying, like, this is one of those things where you can cut certain

things that you're doing.

466

Cause I feel like this, the segment was also like long for it.

467

How, like for the amount of things that weren't happening, if that makes sense.

468

So like really focused on bringing the moments you want to highlight up here.

469

And like, I can't like give you, you know, I'm not in your, your mindset of creating sets.

470

So I don't want things to like stand out in different ways, but I want you to really look

at this segment and be like, okay.

471

Where's the first moment that we want to remember?

472

Where's the second moment we want to remember?

473

Where's the third, if you guys want to have a third, right?

474

And kind of work through that of like, let's revamp this segment.

475

Because comparatively to the other segments that have gone on so far, this is the one

that's like, okay, you know, they did it at the mall segment, right?

476

And it never wants to, you never want a segment to feel like someone's just checking off a

box on a rubric.

477

I think this was our least impactful segment.

478

I'm definitely going to readjust this.

479

Because even when I watched it, I was like, we just danced for 30 seconds and nothing

really happened.

480

Which is honestly, a really good process to have.

481

The idea that you can watch back your segment and be like, I see it.

482

I see that this was the least impactful.

483

One is a really important eye to have because a lot of the times I feel like teams will

get told that a segment isn't impactful and they'll be like, no, we love it so much.

484

We know it's really good.

485

Keep doing the same thing and then it's insanity.

486

You do the same thing expecting different results.

487

One thing is that I actually, I feel like a lot of untapped potential in this opening

thing that you have going on.

488

So you come in, you do this thing.

489

I like how you made the circle like Sock said.

490

I didn't catch this here because it's only, I didn't see the back person do it.

491

I think if you did this thing where you go down and go up, just do it with the front half

of the circle and the back half stays standing, okay?

492

You do this thing, then it's like, the little hat.

493

That's when I noticed that it happened.

494

And then you do it again with everybody.

495

Haiki, I think if you did it one more time, but you did it like these three and these

three, like go down.

496

And then the other half.

497

You can make little tiny shapes with this circle.

498

Think of fun shapes.

499

Don't just do the center and the outside.

500

Everybody knows, or the front and the back, everybody knows that.

501

But if you did, I don't know, these two.

502

the center and these two, but then these two and these two are staying standing.

503

That's interesting.

504

It's like, oh, it's a dynamic shape I don't normally see, but it's a kind of like a

diagonal that you got going on.

505

Like there's different shapes you can do.

506

Do it one more time, maybe, just to sell the idea that it happened.

507

But that would have been nifty.

508

That would have been like, oh shit, that's cool, that's cool, that's cool.

509

Yeah, this right here.

510

So to go off the comment that Sag made about doing bethi or like doing too many motions.

511

you can sometimes I'd like to translate what judges say where they're like, yeah, like

sometimes you like, like it felt a little stale.

512

Like, unfortunately, judges meetings are like five minutes long and each judge maybe has a

minute to say things.

513

So you have to like really decode what they're saying.

514

And so somebody says like, yo man, like a segment felt kind of stale.

515

I can often just mean like they saw the same move a few times and it's just like,

516

It wasn't dynamic in that sense.

517

so that's one way where like, if the judge says like, Hey, like, listen, man, like, like

you're the some of the segments felt kind of stale.

518

That might be the deaf.

519

That might be what they actually meant.

520

Going off that point to like, you can differentiate the type of baby that you're doing.

521

Sorry, my camera's on, right?

522

I doing things in the back, right?

523

So like in this moment where this line is completely here, like I get in the last segment,

it was more of like a chill version, but here in like, in the mall, you're showing off

524

like essentially how strong you guys are, right?

525

So you want to sit into that and like bang the fuck out of those baby, if that makes

sense, right?

526

And that's like, that's a small thing that makes that moment there a little bit more.

527

impactful and makes it stand out from the baby that you were doing in the last segment.

528

But because here we're kind of like, we're soft clapping a little bit and kind of just

going through the motions, you know, like we're not saying wide, it kind of just looks the

529

same.

530

Right.

531

like, that's another way you can elevate too.

532

Yeah, that's what we were trying to do.

533

That's why we have like low-card here also just to kind of like sell like the like the I'm

hitting this shit like but yeah, it didn't pan out.

534

Yeah.

535

also I'm a sucker for rap, so I love that.

536

Absolutely.

537

Yo, Hi Key, when the first time I saw this and the purple guys went down to pick up the

little hearts, I thought they fucked up.

538

They did.

539

Okay.

540

All right.

541

So, okay, nevermind.

542

In that case, forget what it I thought they like fell or something and they tripped each

other's.

543

They all fell.

544

I was like, what just happened?

545

okay.

546

Yeah.

547

All right, whatever.

548

Okay.

549

I'm sorry.

550

I'm sorry.

551

No worries.

552

I didn't mean to call y'all like that.

553

But that brings up a really important point.

554

Like if you're gonna have a moment in time where you're gonna pick up something, kind of

add another layer to your performance, I know shit happens, but like, you just gotta make

555

sure that your dancers are prepared for shit happening.

556

Like thinking about like worst case scenario, we've always been, I'm the idiot that

doesn't listen to the plans we have in place when shit happens.

557

Like we've had Fulman fall off, we've had Ramal's like,

558

things fly everywhere and I'm the one to stop and pick it up and try to get it off stage.

559

like, unless you can do it really smoothly, just keep going.

560

Just leave that prop where it is.

561

Like we're getting the point here, right?

562

Because at least one person has it.

563

We feel it.

564

The one thing I want to emphasize though is like, Jomur is the place where you guys are

supposed to make the audience like just completely fall in love with you.

565

This is your moment to swag out, to really bring life to what you're doing.

566

And like,

567

At this point, like when we start in the beginning, Red's in front, right?

568

I can tell that you like that the Red Jodie is having the time of their lives.

569

They're ready to kill Jemar.

570

So I know that they're bringing that level.

571

So I'm looking back, especially as we're in a straight line here, I'm looking back at the

girls.

572

I'm looking back at Purple Jodie in the back.

573

And I want to feel that same expression from front to back of stage.

574

I want to feel that joy to be doing all that stuff.

575

And this is like, Jemar is arguably the one segment where you can really bring the most

amount of that like.

576

love for pangra, that love for dancing and show it to the audience.

577

And that's one of those moments that like, you could do the simplest of chumar moves, but

I find watching some, the team like just be completely in love with the art form they're

578

bringing to life.

579

It just elevates it even if you're doing simple stuff.

580

So like, just keep that in mind too.

581

That's like the napra part, the josh part that can also take your set to the next level

and not feel just like, okay, this is just another run of the mill chumar segment, if that

582

makes sense.

583

No, I get that.

584

I think, I know you guys are trying to be cutesy or like try to bring something that's not

folk.

585

I will say I have seen this heart thing in some way, or form every year for the past 10

years.

586

I don't think it accomplished what you wanted to accomplish.

587

It's a rose, it's a heart, it's a chick thought, you know, it's a little note.

588

people have done like little things or like, oh, look at this.

589

you know, like I've seen that a lot.

590

And so if you're do that, like you gotta do something different.

591

Okay, yeah.

592

That's just like what I would say.

593

like I know, yeah, actually the DCBC judge said the same thing.

594

It's just, we just did it because of the lyrics.

595

Do you think we could maybe keep the heart of it, but like maybe...

596

make something else, make it not as like cookie cutter.

597

I don't really know how yet, but I'm kind of, I want to keep the idea of the heart thing

without making it so generic.

598

Yeah.

599

No.

600

Okay.

601

A good example of a team, a coed team that did cutesy shit that didn't like make me want

to vom because I've seen it a bajillion times was Alamo at Berg 22.

602

Whatever the last one that ample danced with Alamo at like that.

603

where Ricky, it's with Ricky and Apple.

604

Like, yeah, that shit looked good because it was like, it embodied the same vibe.

605

was like, the guy likes the girl, the girl likes the guy, but he's like, she's like, ill

at the beginning.

606

And then the guy, and then she's like, nah, never.

607

Um, but they did it really well.

608

I really, really liked it.

609

Um, because it was different.

610

It was like a new take on it.

611

If you can, I don't want to like pull it up right now because I know what you're talking

about.

612

Yeah.

613

I got the stream set up and like, as soon as I move things, things break.

614

Um, but watch that performance, watch that drummer.

615

was like, this is shit.

616

This is the shit.

617

Like, this is really good.

618

So try to, um, try to, dude, I'm don't, nobody clip that.

619

Yeah But yeah that like it's a good it's a Try to embody that I think that like I think

you can do you can do something you can do something cooler and more novel and Okay, I

620

understand that The song says it so you want to do it.

621

know how many fucking love songs there are in Punjabi like there's a bajillion like I like

Do so like I understand that you want to like follow this do something like if you can't

622

think of a different way to like do that You don't need to do the lyrics

623

Jomar is the one time people decide to listen to the lyrics, but they all end with the,

love you.

624

Or actually, you broke my heart.

625

Or I'm gonna go drive in my truck and yell from the top of my lungs.

626

That's what a lot of these are.

627

that's one.

628

What was, I don't even remember the other thing.

629

Yeah, no, I think that's the big thing.

630

The other thing I wanna say is,

631

Jomur is also the segment that you can, like you said you wanted to like flex your

creative muscles and like do something that's not quite folk.

632

Jomur is the best segment to do that.

633

Like arguably, you can make a pretty decent argument that Frischle's Jomur at Bruin when

they won wasn't Jomur.

634

was like you, like.

635

I don't really care about that argument.

636

don't like, think it's just nuanced.

637

Like it's just like semantics, whatever it was slow.

638

don't care.

639

But like, there were very few like actual like Jumar steps.

640

It was like, you know, like, but it hit it's smack.

641

So I didn't really care.

642

So that's just like, like you can do really interesting things in Jumar because it's just,

I don't know, the circuit kind of like allows it.

643

half like, you don't need to just do this.

644

I think you can.

645

Really flex it.

646

yeah.

647

So no.

648

Okay.

649

I get you.

650

Yeah.

651

All right, we can keep moving forward then.

652

Oh, also real quick.

653

The Ludi fucking variation that you guys do out was fucking filthy.

654

That was the moment that I wanted to see again.

655

Kinda made me mad cause it's like a good idea and I don't know if I have time to do it.

656

I am a huge proponent of crime.

657

Theft is awesome.

658

I'm giving out so many ideas during this.

659

We should keep this recipe.