4

r The evolution of e p t

a musical and h C visual design

by Dr. Rosalie Sward

All of the corps that came on the scene early 1981; Michael J. Cahill’s article, “A Capsule appreciate it if you would report to me any and have disappeared, all of the corps that History of the Drum and Bugle Corps,” which corrections or additions that you feel should be arrived early and still remain, and all of the appeared in the October, 1982, issue of the made in conjunction with my portion of this corps that came later, had something special Instrumentalist magazine, from which I derived book and, at a later, date I may be able to make that they contributed to the drum and bugle my overview and much of the early history of those available. Please e-mail me at corps activity. It is called evolution. the activity; and Brian Tolzmann’s Drum Corps [email protected]. To fully comprehend the evolution of music Information Archives, which supplied the corps Finally, please note that when individual in the drum and bugle corps activity, one must repertoires that I did not have. corps repertoires are listed, there is often just a also consider the changes in the visual area of A number of other resources and sampling of the program for that year. If the the activity that were taking place knowledgeable people have provided important statement says “their program included . . .” simultaneously, as they did not exist information. These will be listed at the end of that means that the listed selections may be independently. Each aspect dictated its needs this chapter. just part of the program. to the other and, as time passed, they became In covering over 70 years of history, it is Influences on the evolution of music more and more intertwined. impossible to list everything that took place, in drum and bugle corps When writing a historical account such as both in terms of research availability and The most important factors which this, one does not try to reinvent the wheel, but because of space limitations. Therefore, I have influenced the evolution of music in drum rather, begins with the work that has already tried to mention those events that most often corps were: been done. My research began with three came to my attention, either through the 1) Social culture of the times; 2) political valuable resources -- Jodeen Popp’s very printed page, others’ accounts of their environment of the times, including war and thorough historical volume, “Competitive experiences and/or knowledge, or my own patriotism; 3) function/purpose of the drum and Drum Corps, There and Then . . . To Here and observations and memory. bugle corps; 4) evolution and improvement of Now,” which traced the history of the activity In trying to coordinate events with so many the bugle and additions to the percussion through 1979, with supplements in 1980 and dates, there are sure to be errors. So, I would section; 5) the influx of professional instructors, 97

asHeville sal, Asheville, NC (1939 Legion, Chicago, IL). eeviN v. HamiltON sal, Bordentown, NJ (1951, Miami, FL). James F. O’Neil POst, NH (1940). Photo from the collection of Robert Zinko/American Legion archives. Photo from the collection of Robert Zinko/American Legion archives. Photo from the collection of Robert Zinko/American Legion archives. arrangers, trained musicians and creative sponsor flag bearer and a guard or two carrying of veteran’s organizations. These corps tested designers into the activity and their impetus to rifles or sidearms. Their role was to march the possibilities for an independent drum and create change; 6) the tick system vs. the around the field with the corps and execute one bugle corps activity and, after several years of absence of the tick system, i.e., the build-up present-arms at the appropriate time during the experimentation with different organizational system; 7) other rules and restrictions as well as “color presentation.” The term “color guard” models, Drum Corps International (DCI) was the design of the judging sheets; 8) improved meant a guard to salute and protect the colors, founded in October, 1971 by a coalition of drum musicality; 9) increasing concern that music i.e. the American flag. Their function would and bugle corps as the first independent support the drill and vice versa; and 10) change drastically over the years. association and 1972 was the first season of changing time limits of a show. After World War II, the activity flourished, DCI-sponsored shows. An overview of the activity reflecting an expansion of membership within DCI remains the junior corps activity’s After World War I, returning veterans the veteran’s organizations and, in many governing body today, at the time this history formed drum and bugle corps to function first neighborhoods, the need for an activity to keep book is being completed. as a way to keep the veterans involved in a “the kids off the street.” During the period The relationship between drum and patriotic display of camaraderie and later as a from the 1930s into the 1960s, the justification bugle corps and marching bands youth activity. These early corps were for drum and bugle corps often was, “Give a kid It has always been an irritation to drum and primarily parade units that grew out of local a horn to blow and he won’t blow a safe.” bugle corps members and fans to have someone Boy Scout troops and church organizations During this era, corps gradually shifted away refer to a drum and bugle corps as a marching such as the CYO (Catholic Youth Organization), from parades and toward field shows. Under band. Drum and bugle corps is not a marching and YMCA and with ties to the VFW (Veterans the sponsorship of the VFW and American band. There are similarities -- they both play of Foreign Wars) or the American Legion. Legion, especially on the East Coast and in the music, wear uniforms and they march, but These early drum and bugle corps played Midwest, numerous field competitions there are also many differences. patriotic/military music with an emphasis on developed, complete with marching drills and Because of the highly-competitive nature of marches and marching, with the drums and military pageantry. the drum and bugle corps activity, bugles merely providing the tempo. Later, they The American Legion actually started their performances generally have tended to be more developed into musical units where enthusiasm senior corps competitions in 1921 and added innovative, precise and entertaining than those and esprit de corps surpassed artistic junior corps in 1937. The first senior VFW of marching bands. Drum and bugle corps of considerations of musicianship and Nationals was held in 1928, while the first the 21st Century could be considered showmanship. junior VFW Nationals took place in 1936. “professional marching groups” or the Before World War I, the straight Army-type Corps would start on the left end zone of the “aristocracy of marching music.” bugle was standard. Until the mid-1940s, football field and end their show 11-14 minutes The individual drum and bugle corps has most units played only soprano bugles later by crossing the right end zone. They were nearly always existed as a private organization. without rotaries or pistons. These instruments judged on a negative point system, beginning Historically, drum and bugle corps have used were primitive and allowed only a few notes to with a perfect score and subtracting points soprano, alto, baritone and contra varieties of be played. Twelve to 16 horns were normal in (called ticks) with each error in execution. bell-front bugles, while marching bands have a corps. Scoring categories reflected the activity’s used concert band instruments and those The members usually had little or no association with the military organizations, instruments (i.e., Sousaphones) made strictly experience in playing a brass instrument and including captions for inspection of uniforms for marching band. learned when they joined a corps. Most and the presentation of colors, and penalties Drum and bugle corps have never used instructors could barely read or write musical were given for such offenses as dropped woodwinds or electronics. The state of the art notation themselves, let alone teach this to the equipment and not playing. percussion in the drum and bugle corps activity members of their corps. Thus, most In the late 1960s, numerous drum corps has always been its most unique quality and has arrangements were learned by “rote.” directors and fans became increasingly remained ahead of and led the way for Even in the early 1960s, horn lines were still dissatisfied with this system. The affiliation percussion in marching bands. Drum and being taught by people who had little musical with the veteran’s organizations and the bugle corps color guards also had a strong training in brass and percussion techniques. military nature of shows were perceived as influence on marching band color guards. Thus, drum and bugle corps were inhibiting the potential growth of drum and At the beginning of the 21st Century, the “raucous-sounding” and sometimes tolerable bugle corps, both in terms of youth junior drum and bugle corps normally start only to drum and bugle corps fans. The main participation and audience entertainment. rehearsing on weekends as early as November -- characteristics were volume and overblowing, The growing desire for artistic freedom in not later than January -- and finish with Drum so it is not surprising that one contest was choice of music and show design was impeded Corps International Championships the second appropriately named “Beat and Blast.” by the tick scoring system which discouraged week in August, while the senior Drum Corps Those who had not learned to play an innovation by penalizing errors in execution. Associates Championship is held Labor Day instrument formed the color guard, which most At this time, particularly in California, new weekend at the end of August or beginning of often consisted of an American flag bearer, a corps were emerging without the sponsorship September. 98

J. willis Gale POst Cadets, Atlantic City, NJ (1947). akrON POst 209, Akron, OH (1951). HOllywOOd sal, Hollywood, CA (1948). Photo from the collection of Robert Zinko/American Legion archives. Photo from the collection of Robert Zinko/American Legion archives. Photo from the collection of Robert Zinko/American Legion archives. During the summer, corps practice between to write for, design for, instruct and judge one of the hardest physical and mental 7 and 12 hours a day to perfect one marching bands and color guards and vice challenges that the members will ever have, but musical/marching program to its highest versa. it can also be a most rewarding experience. possible level of excellence, while many high Corps-style musical arrangements and drill The Thirties school and college marching bands march a books written for marching bands abounded The following description of a 1930s show different show each week during the fall and competitive marching bands were was written by a former marching member: “I football season. immediately more successful because they were have been in drum corps since 1933 -- I Early-on these marching band programs performing shows that were already proven couldn’t blow and march at the same time were of the “picture show” variety, with winners. Some of the shows of the top anymore when I aged out. Our first bugles non-existent transitions and running from one marching band shows approached the were regulation Army. If anyone had a valve, it form to another. Because marching bands sophistication of drum and bugle corps shows. had to be tied down. Our big numbers were Sip changed shows often, their level of execution The emulation of drum and bugle corps the Foam and You’re in the Army Now. rarely reached that achieved by the corps. during the 1980s and 1990s was so strong that “Many a parade was finished by beating on Drum and bugle corps have a limited and instrument designers began making convertible the sides of the drums, because rain had busted prescribed number of members from all over tubas which can be used for marching band, all the old skin heads. The cheap uniforms this country and sometimes from foreign held like a contra bugle, and three-valve would shrink up to your knees, but it was countries, thus they can be selective, while the baritone horns which are held like baritone worth it.” (Written by Leslie J. Wade, marching band membership is limited to the bugles, as well as other front-bell brass Brandenton, FL, Drum Corps World, 1986). students who attend the sponsoring school and instruments. In order to supplement the “G” bugles in they will begin rehearsal during late summer Later, due to the same people being involved use during this time, horn instructor and finish in December (or at a college or in both activities and a sense of mutual respect, Arthur “Scotty” Chappell (who had started professional bowl game). band and drum and bugle corps organizations marching in 1916) devised a “D” crook. The Corps may travel as much as 250 to 500 started to cooperate in such ways as the first time these instruments were played in miles at a time to get from one show to another exchange of information through publications public, the sound was heard by William F. and maybe as many as 10,000 to 15,000 miles and mutual sponsorship of shows and clinics Ludwig, which resulted in his eventually over the summer. Often marching band (for example, Bands of America and Drum manufacturing a new bugle with a rotary. competitions are held inside a domed arena, Corps International) or be sponsored by the Most units played bugles without rotaries or whereas, drum and bugle corps competitions same organization (Youth Education in the pistons until the late 1940s. are most often held on an outdoor football field. Arts! aka YEA!) and today (2002) the majority of In 1937, the Holy Name Cadets (Garfield In the early years, band directors and the students who march in drum and bugle Cadets) added baritones to their previously students looked down on the drum and bugle corps come from high school or college all-soprano horn line. corps activity due to untrained and often marching bands. One corps of the time played “Aida” so well unskilled players and instructors and inferior Entering the 21st Century, Drum Corps that when they came off the field, the judges instruments. There were many fine band International has allowed B-flat, bell-front insisted that the bugles be inspected to be sure musicians who would never have considered instruments to replace or be used in place of that there were no valves. joining a drum and bugle corps because they the standard “G” bugle and this has created a The Forties did not think it provided a worthwhile musical concern among drum and bugle corps fans that From World War I until 1964, percussion and educational experience. However, there the corps and marching bands will one day be instruments and techniques remained relatively were those who did both. one and the same. unchanged. The percussion section of that For most of the last 27 years, the DCI Some in the drum and bugle corps activity, period was composed of snares, tenors, cymbals Championship Finals have been carried live on who wish to expand to other than traditional and bass drums. the PBS television network. As a result of the brass and percussion, continue to push for a Although there was no set rule, it was fairly increased corps exposure from television and greater relaxation of rules and the admittance standard to find three snares, three tenors, two cross-country contest tours, marching band of woodwinds and electronics, but as this Scotch bass drums, one pair of 14” cymbals and directors began to take seriously the style and history is being written, these are not allowed an optional bell lyre in a drum and bugle corps. content of the drum and bugle corps shows, in the drum and bugle corps activity. Glockenspiels were once popular, but by the thus corps-style bands began to emerge. Today the sophistication level of the mid-1960s no one carried them. One of the The marching band scene became marching band is high because of the greatest displays of “glocks” in the 1940s and corps-style from the music to the style of influence of drum and bugle corps in the 1970s 1950s was by the Madison Scouts. “Between marching to the uniform designs, to the color and the quality of drum and bugle corps the beautiful effects and the spectacular guards to the competitions. And, as drum and performances is high because of the influx of cymbals, they were glorious.” bugle corps became the model for the top students from marching bands, with the top Bass drums were single mallet thumpers, marching bands, many of the designers and instructors and designers contributing to both. carried by corps members who often could instructors of drum and bugle corps were hired Marching in a drum and bugle corps may be barely stay in step and thump at the same time. 99

lelaNd m. BarNett POst 123, Norwood, OH (1928 FraNk luke Jr. POst 1, Phoenix, AZ (1935). Legion, Miami, FL). Photo from the collection of Robert FOrt OraNGe POst 30, Albany, NY (1928 Legion, San Antonio, TX). Photo from the collection of Robert Zinko/American Legion archives. Zinko/American Legion. Photo from the collection of Robert Zinko/American Legion archives. There was no melody in the percussion. played by the juniors, but seniors would not use beginning to return to normal and new corps Percussion instructors often wrote as if they them for nearly 10 more years. These horns began forming all over the country, with were paid according to the quantity of notes broadened the diatonic possibilities available to seniors leading the way and the juniors and it was common to hear a bugle section brass arrangers and allowed corps to play more following. By the mid-1950s, both had playing a ballad while the percussion section melodic music than before, thus expanding developed a core group of units via the played something that had little to do with the their musical repertoires. Also, by the late- veterans organizations’ annual rules-making melodic part. Buglers boasted of how many 1940s, baritone bugles had become popular, conventions. high “Cs” were being played in their shows. allowing new arrangements and new types of By the end of the decade, a color guard During the war years, corps performed at music. revolution was underway, along with new forms local patriotic events and war bond rallies, During the late 1940s, thanks to Arthur of instrumentation. Circuits were becoming rather than competing. Both the American “Scotty” Chappelle, brass instructor of the Lt. more prevalent, judging quality was beginning Legion and VFW suspended their national Norman Prince “Princemen” Drum and Bugle to improve and competition conditions were championships between 1942 and 1945. Corps, buglers discovered how to buff and oil being upgraded, but corps were pushing to have These early parades led to cross-town their tuning slides and, as a result, some corps more control over their own activities. rivalries, firemen’s convention parade trophies buglers pulled slides for many years. Some of the great color guards of the 1950s, and, as an outgrowth of the fife and drum From 1946 to 1963, along with 1960s and early 1970s included: St. Kevin’s movement, the emergence of the field improvements in the brass instruments, there Emerald Knights, 27th Lancers, Boston competition. was considerable evolution in the style of Crusaders, Bridgeport PAL Cadets, At first the football field was considered a marching and maneuvering. Gradually corps Phantomettes (the winter guard of the old large parade ground where the units would abandoned the straight parade formations and Phantom Regiment), Casper Troopers, Santa march back and forth in parade formation, began to maneuver on the field. However, all Clara Vanguard, Anaheim Kingsmen, Blue playing marches and “street beats” on the patterns remained in straight lines --horizontal, Rock, Madison Scouts and many more. drums. Marching with each squad was a vertical, diagonal or combinations of these -- They MARCHED their programs, accenting “guide-on,” a color guard person, carrying a tall and the color guard still marched the entire the music with great drill and equipment pole with a small pendant flag at the top, show at right shoulder arms except for their maneuvers with only cadence called; no music. guiding the line of marchers. single present-arms. Foreshadowing Madison Scouts, Cavaliers In early competitions there were time limits In the 1940s, a senior drum and bugle corps and Bridgemen of the early 1970s in for crossing certain lines, signaled by a “timing from Hackensack, NJ, performed a maneuver in introducing comic relief into the activity, was a gun.” Everyone would begin in a company which ranks and files dissolved into a scattering Canadian corps in the 1950s called the Jolly front on the starting line (the left goal line) and of personnel into a patternless mob and then Jesters. They were dressed in clown outfits and play an opening fanfare. Then they would reassembled into a different arrangement of really shook up the crowd. Otherwise, it was a execute a squads-right maneuver “off-the-line” ranks and files. At the time, this was known as very serious military, button down, drum corps into their parade formation. “doing a Hackensack.” world. Next, the drum line would play a By the end of the 1940s and into the early The National Dream Contest first appeared street beat or tap-step followed by a roll-off 1950s, rules were adopted and national in 1949. It was founded by St. Vincent’s Cadets signaling the beginning of some patriotic music competitions became more important. In 1946, of Bayonne, NJ, because of the desire of that for the “color-presentation” when the color the VFW Nationals was held in Boston with the corps’ leadership to have a national contest guard would perform their present-arms. St. Vincent’s Cadets as the winner in 1946 and independent of the two veteran’s organizations. Additional music selections, interspersed 1947, followed by the Osmond Cadets in 1948 1950-1952 with street-beats and roll-offs, would fulfill the and 1949. For three consecutive years (1950-1952) the time requirements until the corps reached its In both championship years, the Osmond VFW National Champion was the St. Vincent’s final selection, usually a “farewell” ballad. This Cadets opened with Pause that Refreshes and Cadets playing mostly marches, including: was the “exit” and generally it would be their closing/exit numbers included Dancing in Conquest, El Capitan, Columbia the Gem of the followed by a closing fanfare. the Dark, Red Sails in the Sunset, After the Ball Ocean, Triumphal March from “Aida,” Under Adjudication was accomplished by counting is Over and I’ll See You in My Dreams. the Double Eagle, Washington Post and Colonel mistakes in military fashion. Any error in The Fifties Bogey. military ranks or in attacking or releasing a The juniors that returned from World War II At this time, Scotty Chapelle of the musical note was marked on the judge’s sheet created a group of senior corps that would Princemen and Mickey Petrone and Jim with a hash mark which came to be known as make up a large part of the adult units of the Donnelly of St. Vincent’s Cadets, revolutionized the tick. 1950s, 1960s and 1970s and the instructors of drum corps music and marching. The unit that accumulated the fewest ticks the corps of the 1960s, 1970s, 1980s and 1990s. In the early 1950s, Chapelle chopped up an was the contest winner. In turn, they would produce younger old French horn and adapted the horn’s rotary 1945-1950 instructors and so goes evolution. valve to the bugle’s tuning slide, thus making it By 1946, single-piston bugles were being Following World War II, things were easier to play desired chromatic pitches. The 100

Our lady OF GraCe, Hoboken, NJ (1955). east side POst, St. Paul, MN (1939 Legion, Chicago, IL). mONaHaN POst 64, Sioux City, IA (1928 Legion, San Antonio, TX). Photo from the collection of Ron DaSilva. Photo from the collection of Robert Zinko/American Legion archives. Photo from the collection of Robert Zinko/American Legion archives. one-piston bugle (with a chromatic rotary valve judging coordinator) joined the soprano line of were many other great rudimental drummers of in the 1960s) was manufactured until contest Holy Name and several corps were dancing jigs the 1950s who later moved on to become officials legalized the two-piston model during and rumbas at American Legion Nationals. instructors and adjudicators. the mid-1970s. 1953-1957 In 1955, the most played selection was Also, in the early 1950s, the French horn In 1953, while other Midwestern corps were Cherry Pink and Apple Blossom White and the bugle was added to the soprano and stressing perfection in M&M (marching and Hawthorne Caballeros were dancing. Also in baritone, followed in the late 1950s by the maneuvering), Madison was wowing audiences the 1950s, the Cabs introduced a signature bass-baritone. with beautifully-performed GE (general effect). move -- a rotating, mid-field, full-corps St. Vincent’s Cadets was the first corps to They were using dance steps, skipping, head company front accompanied by the “rumps,” an introduce and use the French horn bugle (in choppers, horn spinning and presenting a opening fanfare for a number called España 1950) which was developed by their mentor, genuine cymbal extravaganza, which would Cani, which has been in every program in some James Donnelly, who also introduced show become a trademark for them in future years. form, (i.e., warm-up, opening fanfare, music to drum corps. The use of this bugle led In 1954, Blessed Sacrament Golden Knights mid-show, out-of-concert, re-entry, signature) the way to greater complexity of arrangements. (“Sac”) won their first VFW Nationals title to the present time (2002). St. Raphael’s Buccaneers alum Cliff using only 17 bugles. Their repertoire The Norwood Park Imperials took second Richmond named Jim Donnelly a giant in the included: Washington Post, God Bless America, place behind St. Vincent’s Cadets at the 1956 drum and bugle corps activity. He was also the No Other Love Have I, Stompin’ at the Savoy, VFW Nationals; they finished sixth in 1957 and Buccaneers’ (Bridgeport, CT) first arranger Waiting for the Robert E. Lee, I Feel a Song in 1958 they tied with the Boston Crusaders for (actually, he recycled old “Vinnie’s” music, i.e., Coming On and Good Bye My Lady Love. In seventh place playing Chicago, Persian Market, Papa Loves Mambo, Moon Over Miami, War 1956-1957 they introduced the new bass horn Ida Rose, Goodnight My Someone and 76 March and Jamaica, among others, for that and their drum line began a winning streak Trombones, demonstrating the popularity of corps in 1958 and 1959). that would carry into the 1960s. show music (“The Music Man”) at the time. Quite a few of their first bugles were Blessed Sacrament performed National Although the Troopers are credited with hand-me-downs from St. Vinnie’s brought to St. Emblem March for what seemed like forever! inventing the “sunburst,” according to Jodeen Raphael’s by Mr. Donnelly. Cliff Richmond They used it in the late 1950s, 1960, brought it Popp’s history and former members of Norwood recalled: “He was a big man with a very positive back in 1963, 1967 and 1972, and their alumni Park Imperials, this corps performed the first manner of instructing. corps still performs it as their encore number “circle” maneuver in Ebbetts Field, NY. It was He was to corps music in the 1950s what into the 21st Century, usually followed by a taught to them by Rick Maass. The sunburst Wayne Downey has been to drum corps music standing ovation. would later evolve and be brought to wider in the 1980s and 1990s.” They also used In the Still of the Night in fame by the Troopers. During the 1950s, the favorite repertoire the 1950s as a concert piece, then as an exit In 1956, the most played selection was Lady selections were march tunes and show tunes from 1960 to 1963. America the Beautiful was of Spain and the Archer-Epler Musketeers with a preference for Broadway, as around, in some form or another, from 1965 to senior corps was doing a production of “The demonstrated by St. Vincent’s VFW 1970. King and I” with costumes and a bald drum Championship repertoires listed earlier, along In 1954, Hy Drietzerhad joined the horn major (ala Yul Brynner). with such tunes as Bloody Mary, line, then the staff of Garbarina (New York In 1957, the most played selections were “Scheherezade,” Alabama Jubilee and Skyliners), forming an alliance that would last from “My Fair Lady” and chrome horns were “Polovetsian Dances.” 26 years. He is credited with revolutionizing beginning to replace brass horns. Holy Name The percussion sections of this era musical arrangements in drum corps -- away Cadets were playing a Glenn Miller medley for (1950-1952) were still very basic. Liberty Bell from standard marching music and simple concert and Don Angelica was their soprano (Philadelphia) was using a rudimental chording of band arrangements. An early Hy soloist in And the Angels Sing. bass drum section and some corps were Drietzer arrangement of Rags to Riches, was In 1957, the Cavaliers became the first beginning to do very basic military rifle also played by St. Joseph’s of Batavia. Midwestern corps in many years to win the maneuvers. The average corps numbered Eastern drum lines had been the best until VFW National Championship playing nine about 40 members. Frank Arsenault, formerly of the Connecticut tunes, “Student Prince” medley, When Johnny In 1950, the Cavaliers first played Yankees, moved to Chicago in the 1950s. Comes Marching Home, High School Cadets, Somewhere Over the Rainbow, which was one Arsenault was one of the most accomplished Surrey With the Fringe on Top, Sing, Sing, of the first drum corps references to a musical and honored rudimental drummers in history. Sing, “The Caine Mutiny” theme, Triumphal and which would be their favorite closer Now it was the Midwest’s turn to put out March from “Aida,” Somewhere Over the through 1966; and in 1952, the Madison Scouts some great drum lines, as he created excellent Rainbow and I’m Always Chasing Rainbows. introduced You’ll Never Walk Alone, which they lines for the Cavaliers, Norwood Park Imperials Their precision in both playing and would play every year through 1966 and revisit and Skokie Indians senior corps, which also had marching that night gave them the nickname again in 1969. an outstanding horn line in 1955. “The Green Machine.” In 1952, Don Angelica (future judge and DCI Mr. Arsenault was a pupil of Earl Sturtze, as From 1955 to 1958, the Bridgeport, CT, 101

elmHurst POst 298, Elmhurst, NY (1935). NOrristOwN POst 39, Norristown, PA (1929). HeNry J. sweeNey POst 2, Manchester, NH (1929 Legion, Louisville, Photo from the collection of Robert Zinko/American Legion archives. Photo from the collection of Robert Zinko/American Legion archives. KY). Photo from the collection of Robert Zinko/American Legion archives. Troopers senior corps had a maneuver that they and 1981, as the closer of their winning DCI his Irishmen through the concert of Stardust. used in competition and in the line of march in program in 1988 and again in 1996. The stands went a little crazy. They were still parades. It was a musical rendition of the 1958 gasping over the color presentation and now 1950s favorite “Bunny Hop,” complete with a Most played selection: Colonel Bogey March. this! Then came one of the most fantastic “hop-hop-hop” at the appropriate moment. The At the 1958 VFW Nationals, the first-place drum exhibitions I had ever heard, followed by fans loved it, but wondered how the buglers Blessed Sacrament Golden Knights played nine My Buddy, which had us old dogfaces nearly were able to keep their lips on the mouthpieces pieces including: I Hear a Rhapsody, National in tears. while hopping. Emblem March, Just One of Those Things, “Finally came When Irish Eyes are Smiling. Some of the early musical programs America I Love You, In the Still of the Night, The stands held their breath to hear if the contained from six to as many as 20 tunes. For You’re Driving Me Crazy, Woodpecker Song, soloist would hit the last high note. He did -- example, the Austin/Belmont Grenadiers’ Mardi Gras March and Beyond the Sea. perfectly -- to a roaring standing ovation. Now, (Chicago) program contained no less than 16 Bandleader Mitch Miller referred to the fans, that’s drum corps.” (In 1959, the Reilly pieces, -- Wait ’til the Sun Shines Nellie, Half Geneva Appleknockers as having the best brass Raiders would field the largest corps in the as Much, Give My Regards to Broadway, section he had ever heard. Their repertoire country with 72 members). Embraceable You, Dream Girl, Old Man River, included: This is My Country, One for My Baby, “The same contest featured the Princemen It’s a Grand Old Flag, Captain Andy, My Lucky Day, Thanks for the Memory, Green from Boston. James Murphy played a jazzy solo Washington Redskins, Irish Washerwoman, Eyes, Call Me Shine, Apple Blossom Time, of Sweet Georgia Brown that had the fans Does Your Mother Come from Ireland?, Lady of Slaughter on 10th Avenue, You’ll Never Know, hysterical. Prince won that night. Then came Spain, Tara’s Theme, Trumpeter’s Lullaby, Auf Got That Old Feeling and Heartaches. the Archer-Epler Musketeers who blew the fans’ Wiedersehn and Aloha Oe. The original Casper Troopers corps minds with the Dipsy Doodle. Two corps that played Who Threw the consisted of approximately 50 horns and drums “Hawthorne had everyone going ape over Overalls in Mrs. Murphy’s Chowder? were the and the color guard had four girls, two carrying Cherry Pink and the ‘Dead End Kids’ from Reilly Raiders from Philadelphia (senior) and rifles, and the other two carrying the Wyoming Garbarina American Legion Post #1523 blew St. Mary’s Majestic Knights from Charlestown, and American flag, respectively. the best rendition of Slaughter on 10th Avenue MA (junior). Their 1958 musical program contained: I’ve heard since Les Brown and his Band of The New York Skyliners (senior) were Ghostriders in the Sky, Wagon Wheels and Renown. Those were the Skyliners! considered “brass gods” from 1957-1962. Hy He’s Got the Whole World in His Hands, the “There was a lump in your throat when the Drietzer was still playing French horn as a latter having at least one high “E” for soprano color presentation was done. To see that soloist for the corps, as well as writing their bugle. wonderful flag, flanked by the guard, coming music. He was considered “the man” when it From Trivial Ed Trautner (Drum Corps toward the stands -- and playing their came to senior corps arrangements and World, December, 2000): “Madison had one of patriotic hearts out -- one would have to be very instruction. the top drum lines of 1958; Chicago Cavaliers dead in the soul not to be moved. Malaguena were winning everywhere with their concert “Yes, the old one-valve ‘G’ bugles were out The Spanish Malagueña by Ernesto Lecuona number of Sing, Sing, Sing!, the Boys of ’76 of tune. There were no contras or has been one of drums corps’ most exciting and the Racine Kilties had a ton of GE; mellophones. Overblowing was the order of the numbers. This piece met with popularity on Norwood Park Imperials were said to have the day (but oh, what power!). The arrangements the drum corps field in the 1950s when Latin most difficult drill; Lt. Norman Prince played were simple, with block chords used behind the music became part of everyday American pop Sweet Georgia Brown to the delight of fans; the soloist.” culture. Pittsburgh Rockets played Mood Indigo, Love St. Kevin’s Emerald Knights, Boston The Hawthorne Caballeros, who helped for Sale, Young and Foolish and about seven Crusaders, Braintree Warriors and St. Mary’s introduce Malagueña on the field, have played other tunes; and the audience was thrilled every Cardinals appeared on the first Fleetwood the selection more than any other corps, time St. Vincent’s Cadets played Lady of Spain record album (#2000) of the 1958 Eastern having had it in their repertoire at least 12 and Tropical Heat Wave and it was noted that Massachusetts Circuit Championships. times. their Latin-Style dancers were excellent.” 1959 Malagueña was played by at least one corps Pete Emmons, who would later achieve By 1959, bass baritone bugles were per year for each year between 1955 and 1983 fame as the visual designer for the Santa Clara becoming popular. (31 consecutive years). In the 1950s, it was Vanguard, joined the Troopers’ horn line this The Cavaliers were again VFW National played by at least seven corps, in the 1960s by year and the De La Salle Oaklands Bugle Band, Champions and in second place were the 26 corps, in the 1970s by 30 corps and in the founded in 1910 (Toronto, ONT), made the Belleville, IL, Black Knights playing mostly 1980s by 15 corps. change to a drum and bugle corps. marches, while the Madison Scouts followed in The year 1996 was the only one during The following description of a 1958 contest a close third playing a favorite program of which it was not featured on the field during a was written by Leslie J. Wade, Brandenton, FL, popular and show music: Maverick, Like a God, 40-year span. It became a favorite for the (Drum Corps World, 1986): “ ‘Wild Bill’ Hooten Grand Avenue, “Flower Drum Song” medley, Madison Scouts as they played it in 1978, 1980 (drum major of the Reilly Raiders) had just led You are Beautiful and No Other Love. 102

NOrGaN mCdermONt sal, Tucson, AZ (1937). HOustON POst., Houston, TX (1928 Legion, San Antonio, TX. salem POst, Salem, OR (1928 Legion, San Antonio, TX). Photo from the collection of Robert Zinko/American Legion archives. Photo from the collection of Robert Zinko/American Legion archives. Photo from the collection of Robert Zinko/American Legion archives. Battle Hymn of the Republic which members carried “Tony” off the field. Cadets, are credited with laying the foundation Both the Cavaliers and Black Knights played The height of “West Side Story” was the of today’s drum corps. Battle Hymn in 1959 and that was the first year championship performance in 1984 by the “In winning their first title in 1954, they it was the most played selection, as it would Garfield Cadets, whose performance of needed only 17 bugles. Blessed Sacrament continue to be for the next six years from 1960 Symphonic Suite from “West Side Story” left always carried brass horns, were the first to use through 1965 (tying with You’re a Grand Old no doubt in anyone’s mind from the beginning rudimental bass drums and were playing Flag in 1960). of the season who would win DCI that year. authentic jazz as early as 1961.” It would be played by more than 100 corps Garfield had also played selections from this The Audubon Bon Bons (1938-1976): “In before 1979. The tune became particularly musical in 1961, 1962, 1964 through 1966 and 1957, they took both high drums and high GE important to the repertoires of the Troopers would revisit it again as the Cadets of Bergen in placing second to Holy Name Cadets at and the Belleville Black Knights. County in another championship year, playing American Legion finals. Their bugle quartet Phantom Regiment played Get Me to the Somewhere in 1990. won the national title that same year.” Church on Time, the Audubon Bon Bons played A theatrical performance of “West Side Des Plaines Vanguard (formed in 1934 as Stouthearted Men, the Amboy Dukes performed Story” was presented by the Sky Ryders Logan Square, also known as Chicago a Gay ’90s theme in costumes, the Skyliners (Hutchinson, KS) in 1987 and a Buddy Rich Vanguard, Skokie Vanguard, Mel Tierney, were playing Lullaby of Birdland and the arrangement of selections from the musical marching until 1978): “During its early years, popular Scout House (Preston, ONT) played moved the Kiwanis Kavaliers into fourteenth the corps was noted for mellow music and their trademark Waltzing Matilda, Hi Lily, Hi place in 1996. colorful though conservative drills, but in the Lo, an “Oklahoma” medley and The Wayward Corps giants 1970s, the corps was among the innovators in Wind, as well as dancing the can-can. Jodeen Popp began her 1979 history, both music and drill, presenting “West Side St. Vincent’s Cadets broke away from the “Competitive Drum Corps, There and Then . . . Story” dramatically. playing of standard arrangements with both To Here and Now,” with a description of 26 of “They will be remembered for many wide open music and drill, signaling the the top corps in the earlier years of the activity. memorable arrangements over the years and for beginning of a new era of evolution. With her permission, we are reviewing the their unusual color guard work. In the late Garfield Cadets, Norwood Park Imperials artistic accomplishments of these corps in the 1960s and early 1970s, they fielded two guards and Phantom Regiment had very successful years through 1979; the first 13 are corps that --one all-boys and one all-girls.” winter guards. The Madison Scouts had an did not survive into the 1980s. Anaheim Kingsmen (1958-1978): “The excellent color guard, but they were not allowed Archer-Epler Musketeers (1932-1968): corps became best known for their crowd to compete in the Midwest Guard Circuit’s “Archie was a great influence, particularly in appeal, inspired by their creative and contests due to a rule that guards had to carry the type of music used, which was quite daring hard-driving, intense salesmanship on the field. rifles to properly guard the colors, but Boy for its time. The corps was known for its This is where true ‘hype’ became a byword. Scout rules would not allow them to be carried wonderful choral group and often sang their “They are considered to be, with the by a Scout unit. theme song, We Are the Musketeers.” Troopers, major color guard innovators in the And in the late 1950s and early 1960s, the The Austin Grenadiers (1947-1956): “It was 1960s and early 1970s. Their style of unique Madison Scouts and Racine Scouts carried the Grenadiers who introduced the Midwest to precision in equipment handling set new marching xylophones. the eastern style of ‘flashy drum corps.’ They standards in the art. “West Side Story” marched a 32-inch step in the days when “As much as for their presentations on the “West Side Story” premiered on Broadway cadence was a required 128 to 132 steps per field, the Kingsmen were a source of September 26, 1957, proving to be a landmark minute and they were masters of the amazement due to their pride and discipline off in the world of musical theater. It also gave the synchronized arm swing. the field, introducing the concept of being drum corps activity its single greatest body of “They introduced the Midwest to the bass dressed up when out of uniform in public.” music. This is the only music which has baritone bugle and carried the first guidons -- Lt. Norman Prince “Princemen” (1946- appeared on the drum corps field in some form the predecessors of the flash flag lines of today. 1969): “They were known for their classy into the mid-1990s, beginning in 1959 (when They were the first Midwest corps to amaze the appearance and demeanor. They began the the Hilton Crusaders of New York played audience with ‘lost man’ formations and played classical music influence, introducing Schubert Tonight) through 1997! everything from Woody Woodpecker to music of to the corps world.” It was the most-played body of music in the Tchaikovsky while wearing the first tall-ostrich Reilly Raiders (1946-1968): “Formed as a years 1962-1966 (played by some 128 corps in plumes. In their best year they marched with senior unit, Reilly became one of the most those years) and also in 1986, 1991 and 1993 three snares, two bass, one cymbal, eight in the successful and entertaining units of its era. and, in 1994, it tied with “Hook” and “Beauty guard and 60 horns.” Another early ‘theme’ corps, they presented the and the Beast.” Through 1989, it was played by Blessed Sacrament Golden Knights (1948- Irish heritage musically and through dance. as many as 300 corps. 1975): “This corps was known for innovation, Brilliant green shamrocks graced their square A very theatrical production was performed particularly in percussion and drill, and, along white flags. Always a corps with a mighty by the Des Plaines Vanguard in 1972-1973 in with St. Vincent’s Cadets and Holy Name sound and intense fighting spirit, they were 103

elyria POst 12, Elyria, OH (1928 Legion, San Antonio, TX). GreeNville POst, Greenville, MS (1928 Legion, San Antonio, TX). erNest H. GraGG POst 81, Corpus Christi, TX (1928 Legion, San Photo from the collection of Robert Zinko/American Legion archives. Photo from the collection of Robert Zinko/American Legion archives. Antonio, TX). Photo from the collection of Robert Zinko/American Legion.. great crowd favorites.” It is interesting to observe how closely the quality and a tremendous drum line that Chicago Royal Airs (1958-1968): “They set current day (2002) versions of these corps still followed, awaited only the right drill. In 1976, the standard for junior horn lines that existed retain their same basic characteristics. Five of that drill appeared -- remarkably innovative in for the next several years. Even a dozen years the top six-placing corps at DCI in 2001 are on combining uniform changes, the Broadway later, recordings of the Royal Airs sound as if this list and seven of them were in the top 12. stage and precision -- and the Bridgemen they could have been made within the last Blue Devils (1970- ): “Organized as an became a drum corps institution. couple of years (1978-1979) and they have expansion of their drum and bell corps in the “Later years brought other innovations and served as an inspiration to today’s corps.” fall of 1970, the Blue Devils established the a continuing growth in sophistication.” Scout House (1937-1965): “They played longest winning streak since the early 1950s, Their highest DCI placement was third in B-flat piston trumpets and developed a with 34 consecutive contests won between 1980. legendary military bearing. Whether in June, 1976 and June, 1978, suffering only two Hawthorne Caballeros (1930s- ): “The ‘Cabs’ competition or exhibition, their marching style caption losses in 1977. are the single most successful corps in history. was unique to the activity. They used a slow “The ‘Blue Crew’ became known for their They began as a junior unit called St. George’s. cadence with a chest-high knee rise alternating contemporary jazz style, accomplished with Their major competition in those days came with a prancing step. They swayed and skipped devastating and uncompromisng finesse. Their from Holy Name Cadets (Garfield). and often marched as wooden soldiers -- all style is not one of hard-driving ‘sell,’ but laid “The senior Caballeros were formed in 1946 with an exaggerated arm swing. back and smooth. Their drills are designed to and since that time have generated a very “Some of their most memorable be done the hard way, building patterns special brand of excitement and, with their performances were given indoors, such as in a backwards, without guide points, etc. Spanish theme used annually, they were large arena. In that type of show, their “Their corps is one of many corps having naturally one of the first theme shows. It also performance could last up to two hours and very successful competition color guards.” follows they would have been the first to use would include marching, playing, dancing and Through 2001, the corps has win 10 DCI bongos and congas in their percussion line.” singing and even carrying torches in a darkened Championships. Between 1970 and 2001, the Hawthorne arena. The corps was often emotionally Blue Stars (1965- ): " ‘The Kids from God's Caballeros have won eight DCA Championships. draining and overwhelming to watch.” Country’ have always been known for excellent Cavaliers (1948- ): “The ‘Cavies’ are the Skokie Indians (founded in 1936 as drum lines and marching capability and they most successful of the junior corps in our Gladstone SAL, competed through 1962): were the first corps to spell out a word in script history of many excellent and successful corps. “Always known for a beautiful and dynamic writing on the field (in their ‘Chicago’ show). The 1957 VFW title was the show that brought horn line, this corps was the possessor of the The corps took second place the first year of the nickname, ‘The Green Machine’ and they only known perfect 20 (score) in horns. They DCI and continued to place in DCI finals for the were. were the first and only drum and bugle corps first eight years, through 1979.” “Marching with a precision unpracticed in ever to record on a major ‘pop’ label, when In later years, the Blue Stars continue to the east and with the VFW scoring weighted their Epic album was released in 1956.” exist as a power in division III (A-60), winning heavily toward M & M quality, that machine St. Kevin’s Emerald Knights (1947-1978): that championship in 1989, 1993 and 2001. eventually captured eight VFW titles, with an “They were known for beautifully colorful drill Boston Crusaders (1940- ): “ ‘The corps that undefeated season in 1961. patterns and are credited with leading the way would not die' was formed as Most Precious “Musically, the horn line has always been in the revolution toward large color guards that Blood Crusaders in 1940 and was later known excellent and tied with Santa Clara in 1977. began in the late 1950s. In 1962, the corps was as the Hyde Park Crusaders. Their drum line has been a model for years.” the first to use someone other than the drum “Boston was a pre-DCI powerhouse in the Through 2001, the Cavaliers have won four major to lead the corps when they pulled their 1950s into the early 1970s. The Crusaders are DCI Championships. female guard sergeant out of her position to survivors; through the years they were one of Garfield Cadets (1934- ): “Garfield (formerly direct concert. the smaller DCI corps, down to 19 members by Holy Name) is considered to be one of the “Along with the drum and bugle corps, their 1972, but they never lost hope and persevered. oldest surviving drum corps, setting the very choral group and barbershop quartet won the “Their percussion sections over the years format of drum corps. They were responsible CYO circuit in 1960 and 1961.” have been the leaders within the corps move- for introducing many innovations over the St. Vincent’s Cadets (1940-1961): “This ment. They were the first junior corps to pull years, from the contra bass to converting their corps set trends in both performance and slides in their horn line.” color guard to horn players, and are considered showmanship followed by all corps of the Their highest DCI placement is fifth in the 'risk-takers' of the activity.” future. They were the first to use the French 2000. Through 2001, the Cadets have won eight horn bugle and thus led the way in complexity Bridgemen (1964-1988): “They introduced a DCI championships. of arrangements.” new, fun style to drum corps that is done with Kilties (1935- ): “They became known as The following 13 corps are the ones that quality. The corps came to the attention of the 'The Mad Plaid' because of their authentic have survived into 2002 or that survived well nation primarily through its triple-tonguing Scottish uniforms, which have changed over into the 1980s (27th Lancers and Bridgemen). horn line in the early 1970s. The horn line's the years in color and type, but always using 104

arGONNe reBels, Great Bend, KS (1957 Legion, Atlantic City, NJ). vaGaBONds, Haddon Heights, NJ (1961). st. mary’s Cadets, Nutley, NJ (1956). Photo by Walter Ermel from the collection of Ron DaSilva. Photo by Walter Ermel from the collection of Ron DaSilva. Photo by Walter Ermel from the collection of Ron DaSilva. the traditional plaids. all ages." particularly the color guard show, has been “Their motto, ‘Wea Winnea Bea Daunted’ Phantom tied for one DCI Championship in delightfully obvious to the fans and the superior (“We Will Not Be Defeated”) has been proven by 1996. and energetic performance of the guard their longevity. They have been innovators, Santa Clara Vanguard (1967- ): “At their first members exhausts the viewer. both musically and visually, and, until 1978, major appearance at World Open in 1969, they “Among the innovations introduced are the were one of only three remaining all-male placed ninth and stunned everyone with their double flags, horizontal rifle spins and a corps." horn sound and a drill that came out of the modern dance concept within the weapon line. In 2002, they continue to entertain as a corner rather than from the starting line. That This is a real ‘show corps,’ in the truest Eastern senior corps. show, and Milwaukee in 1970 when they won tradition.” Madison Scouts (1938- ): “Madison has long and defeated corps who had probably never Their highest DCI placement was second in been known for their flamboyant style, both in heard of them, warned everyone of what to 1980. music and marching. During the late 1940s expect. The Sixties and 1950s, Madison was usually the crowd “They have more than lived up to all As the activity entered the 1960s, corps favorite as they performed a very showy, yet expectations by becoming the most successful members were still basically “street kids” who precise program full of surprises. and consistently excellent drum corps of the may or may not have played before and who “In the days when everyone carried one pair 1970s. Their drum line won 56 consecutive were rarely taught to read music. The of cymbals, they carried at least four pair, shows in 1973 and 1974. instructors were corps alums with great loyalty twirling in sequential patterns. They were “Their creative color guard, while also to their group. This often meant a lack of responsible for flipping bugles and head successful in competing in winter guard, won correct musical training combined with the choppers and marching with dance steps as its greatest fame from introducing the corps intonation problems of the old bugles. they went. world to the bottle dance. They are both Volume still took priority over tone quality “They were undefeated in horns for 46 awesome and subtle and present an emotionally and balance and the corps which had the consecutive shows throughout 1974 and 1975, entrancing program.” loudest horns, the best soloists and, of course, and the 1975 season was an undefeated year for Through 2001, the Santa Clara Vanguard the least ticks, usually won the awards. the corps, making them the first non-Western has won six DCI Championships. Percussion parts were over-written and their corps to win DCI. Troopers (1957- ): “The Troopers first choppy rhythmic figures did not add much to “In addition to their renowned musicians, appeared in the Midwest in 1962 and presented the musical arrangements (and often may have Madison has become known for a very exciting their sunburst, which has become the most been detrimental). There was a lot of emphasis color guard, both in the summer and winter loved and respected maneuver ever performed on marching and maneuvering and the color competitions.” by any drum corps. guard, which was mostly for the non-musicians, Through 2001, Madison has won two DCI “Over the years, the corps has had varying carryied heavy rifles. Championships. success in drums and bugles, but there has But the drum and bugle corps movement Phantom Regiment (1956- ): “ ‘Phantom’ never been any question about their color was beginning to expand as more and more was formed from the St. Thomas High School guard. Almost every new equipment handling corps began inter-sectional competition on Crusaders. In their earliest years, they were idea of that era had its components founded in their way to national competitions best known for their color guards and, at one the Troopers' guard. They also started the The 1960s saw ongoing attempts to improve time, operated three guards, one being the overwhelming trend to throw equipment at, the instruments of drum and bugle corps. champion Phantomettes. over, to and/or around each other in the early Bugle manufacturers began to offer the “It is difficult to match the precision and 1960s. one-piston bugle with a chromatic rotary valve, emotion generated by that group. They have “As innovative and precise as their guard has used until contest officials legalized the won many Midwest Circuit titles, placed second been, they do not overshadow the marching two-piston model during the mid-1970s. in WGI in 1978 and won that championship in capabilities of the ‘F Troop.’ Their M&M score Percussion 1979. accomplished at DCI in 1973, still stands high The major innovations of the time were “Having been destroyed by a fire in 1964, today (in 1979) -- 21.55 of a possible 25.” taking place in percussion and M&M, as the corps returned to the field in 1969 and they Their highest DCI placement was second in described in “A Capsule History of the Drum have progressed with a vengeance since that 1973. and Bugle Corps” (Instrumentalist magazine, time, becoming one of the most entertaining 27th Lancers (1967-1986): “The Lancers October, 1982) by Michael J. Cahill, band and and talented corps ever to hit the field. have always performed an excellent musical drum corps instructor and DCI adjudicator, “Rather unusual for a corps of its caliber is show, but their highest caption is normally who, at that time, had published over 50 the fact that they normally do not use General Effect. Their beautifully conceived corps-style band arrangements and authored a consulting specialists, but train with their very programs are of an unusual level of difficulty, method book titled Developing Corps-Style own local staff. They are noted for classical and and typically 27th is a ‘slow starting’ corps for Percussion. semi-classical music and have created an that reason. Mr. Cahill writes: “With all due respect to appreciation for long-hair music among fans of “The level of ingenuity in creating, Bobby Thompson (Blessed Sacrament Golden 105

st. NiCHOlas all-Girl, Egg Harbor, NJ (1958) st. rOCCO’s CeNturiONs, Newark, NJ (1957) st. JOsePH’s Cadets, Hammonton, NJ (1961). Photo by Walter Ermel from the collection of Ron DaSilva. Photo by Walter Ermel from the collection of Ron DaSilva. Photo by Walter Ermel from the collection of Ron DaSilva. Knights) and Larry McCormick (Cavaliers), the the 1960s. The first was the introduction of listing of musical selections -- sometimes as percussion spotlight must fall on Gerry curves and arcs. Although Vincent “Vinnie” many as 15 in a single program -- or, how many Shellmer and the Boston Crusaders. Ratford with the Crusaders of Rochester, NY, types of songs could be played in the allotted “During the 1960s, the Crusaders were was the first to experiment in this area, the time limit (13 to 15 minutes). The choice of responsible for many innovations. They most dramatic effects were introduced by the music was usually what the director liked, what replaced the smaller bass drum with larger, Troopers. sounded good or what was popular that year, concert-size bass drums. They used large, “The famous Casper ‘sunburst’ probably has with little relationship between the pieces. concert-size crash cymbals for the first time. been copied by more marching units than any Most shows had no themes and often They were the first to have the snare drummers other single maneuver. Jim Jones’ bursting arc seemed to be constructed as much for variety play on suspended cymbals, thus allowing openers rewrote the marching and as possible. An exception was the Edison duplication of the drum-set sound. maneuvering adjudication sheets and Lamplighters (Detroit, MI) who featured an “They premiered the timp-tom and established the curvilinear as a useful device for entire program of music that constituted an multiple-tom outfits. They introduced both the drill writer.” “electric repertoire.” wood and metal horizontal keyboards, the Color guard For example, their 1960 musical program bell-lyre having long been abandoned by the “The second great innovation in M&M was was: I’m Beginning to See the Light, Harbor corps. They were the first to use timpani in a the notion that the color guard equipment Lights, By the Light of the Silvery Moon, The show and led the field in adding accessory might be moved beyond the manual of arms Old Lamplighter and Dancing in the Dark. percussion and odd (rhythmic) meters to the and used to visually enhance the music. These There were a lot of medleys and always a corps repertoire. concepts had their birth in the winter color color presentation with a patriotic song. Many “Boston also introduced ensemble writing guard competitions that had been inaugurated of the corps carried part -- or most -- of their for the percussion section, exploring the to sustain interest during the off-season. show into the next year. various timbres -- for example, a delicate Beginning in the late 1950s and early 1960s, During the 1950s and 1960s, the following ornamental counterpoint to a chorale-like the color guard moved from also-ran status to corps and musical productions became brass passage. one of vital visual support and eventually associated with each other: When Irish Eyes are “Their greatest gift was the reached the point where rifle and flag sections Smiling (Reilly Raiders), We Are the Musketeers idiomatically correct and musical percussion were as important to the show as the snare line. (Archer-Epler), “How the West Was Won” part. Now, when the brass instructor Musical programs (Troopers), Conquest (Boston Crusaders), Baby programmed a rock-ballad, he got an authentic The mid- to late-1960s provided many Elephant Walk (Blue Rock), Watermelon Man rock-ballad percussion part and he could changes in corps programs. The music moved (Royal Airs), Sweet Georgia Brown (Lt. Norman depend on the same compatible result whether gradually from military to popular tunes which Prince), MacArthur Park (Kilties), Cherry Pink it was a driving big-band jazz tune, a show were being heard on the radio or in the and Apple Blossom White (Hawthorne tune, a classical work or any other style. movies. Horn lines became increasingly more Caballeros) and Stormy Weather (Connecticut “From now on, percussion books would no musical because many of them were being Hurricanes). longer simply accompany, they would enhance trained by experienced and professional brass St. Kevin’s Emerald Knights were “brass the brass arrangements and every future show instructors. gods” in the period 1959 to 1964. In the late would, to some degree, be influenced by Gerry Although crude by today’s standards, the 1950s and early 1960s, St. Kevin’s played an Shellmer and the Crusader drum lines of the shows were powerful and stirring. Corps were original score composed by their horn 1960s and early 1970s.” often criticized for working on only one show a instructor/arranger, Frank Bergdoll, called Larry McCormick, who was a drummer in year, but it was because of this concentration Knights on the March. In 2001, Frank’s son the Cavaliers from 1954 through 1956 and an that the level of performance was high and “Buzzy” rewrote all of his dad’s music for the instructor from 1962 through 1971, was a trail corps drum lines were executing material that St. Kevin’s Emerald Knights Alumni Corps. blazer in drum corps/rudimental drumming. was years ahead of most marching band Three corps were famous for their singing: (Later he founded McCormick’s Enterprises, percussion music. the Archer-Epler Musketeers, Reilly Raiders and Bands of America and Sharper Image Video.) The order of the show was: fanfare, St. Kevin’s Emerald Knights. McCormick explained: “We (Cavaliers) were bombastic opener, color presentation (a More and more drum corps recordings were known for innovation in percussion. We patriotic song), drum solo into concert number, being made and sold. In the mid-1960s, an introduced tuned bass, extended feature drum a short out of concert and a closer which had a album was produced titled “The Big Four” -- solos, tonal musical phrasing percussion parts message of farewell or love such as the the four top Chicago area drum and bugle versus the traditional rudimental scoring, odd Spectacle City Mariners’ (Greendale, WI) closer, corps -- the Cavaliers, Royal Airs, Skokie meter writing and continually explored new Red Sails in the Sunset, the Cavaliers’ closer, Vanguard and Norwood Park Imperials. instrumentation, including melodic tympani.” Somewhere Over the Rainbow, and later, Softly From the late 1950s through the early Marching and Maneuvering as I Leave You (also played by Lt. Norman 1970s, some songs with very unusual titles Continuing with Mr. Cahill’s explanation: Prince), and Madison’s You’ll Never Walk Alone. were being used, such as: Nude Descending a “Two major changes occurred in M&M during During this time, shows had an extensive Staircase (Holy Trinity Cadets), Slightly Out of 106

st. BreNdaN’s Cadets, Clifton, NJ (1960). stateNaires, Staten Island, NY (1966). FairlawN POliCe Cadets, Fairlawn, NJ (1960). Photo by Walter Ermel from the collection of Ron DaSilva. Photo from the collection of Ray Priester. Photo by Walter Ermel from the collection of Ron DaSilva. Tune (OLPH Ridgemen), New Ashmolean approved, but most were rejected as being too • 1965-1970 -- Blessed Sacrament, America the Marching Society and Students’ Conservatory radical. Beautiful. Band (Grenadiers), No Matter What Shape Your This brought the units into conflict with the • 1968-1972 -- Oakland Crusaders, Ontario. Stomach Is In (Sir Thomas More Cadets), VFW, the organization that controlled the • 1969 -- Baltimore Yankee Rebels, “Requiem Doing It for Some Dame (Connecticut activity’s main championship contest. As a for an Era,” written by Truman Crawford. Vanguard), Webster’s New Collegiate Dictionary result, during the decade of the 1960s, the • 1969-1971 -- Santa Clara Vanguard, Chester. (Princemen), Overture to a Tired Old Horse relationship between drum corps and the • Any year -- Archer-Epler Musketeers, Stars Eating Chestnuts in a Burning Barn (Colt .45s) veteran’s organizations deteriorated. and Stripes Forever. and Petrological Surprise (Knickerbockers). As a major turning point, the VFW adopted • 1970 -- Garfield Cadets, Aura Lee. There were also some very unusual an 11- to 13-minute time requirement for their • 1971 -- Garfield Cadets, Battle Hymn. combinations of tunes in a program, the most finals show rather than their previous 13- to • Early 1970s -- Garfield Cadets, Free Again. preposterous being the combining of sacred and 15-minute limit. • 1971-1972 -- Blue Rock, American Salute. secular songs back to back: God of Our This step allowed the Legion and VFW corps • 1971-1972 -- Madison Scouts, “Variations on Fathers/My Heart Belongs to Daddy (St. Lucy’s to compete against each other without having Yankee Doodle.” Cadets), Hallelujah Chorus/I Wish I Could to make changes in their shows when going • 1971-1973 -- Argonne Rebels, Stars and Shimmy Like My Sister Kate (St. Joseph’s of from one competition to the other. Stripes Forever with a great symphonic Batavia), Lord’s Prayer/Colonel Bogey March The flag presentation ending which originally may have been (Targets), Lord’s Prayer/The Lady is a Tramp The color presentation was an integral part written by Truman Crawford. (Vacationland Sweethearts), Prayer of Our of every drum corps show. The following list • 1971-1973 -- 27th Lancers, Shenandoah with Lord/MacDonalds’ Restaurant Theme (Velvet illustrates the variety of the selections corps sabres at the end in a circle pointing to the Knights), Holy, Holy, Holy/Does Anyone Know used for their color presentations. American flag section. What Time it Is? (Phantom Regiment), Onward The Argonne Rebels (Great Bend, KS) and • 1972 -- Hawthorne Muchachos, played a tune Christian Soldiers/Hey Big Spender (Alpine Blessed Sacrament used traditional marches. out of concert called Matador. Part way Girls) and How Great Thou Art/Run Back to Blue Rock (Wilmington, DE) adapted a piece through the number the corps halted, up Mama (Floridians). originally designed for concert band. popped the American flag and the guard Changing attitudes The Troopers, Santa Clara Vanguard and saluted. In the late 1960s, the drum and bugle corps Des Plaines Vanguard performed arrangements • 1972-1973 -- Connecticut Hurricanes, Medley activity was changing rapidly. New concepts, of hymns. The Kilts used a piece from a of Nations, written by Joe Genero. new instruments and the country’s changing Broadway musical. Most interesting was the • 1974 or 1975 -- Phantom Regiment used Ode values combined to develop new levels of design Royal Airs’ swinging version of John Brown’s to Joy for a very inspiring flag presentation. and performance, innovation and musicality. Body. • 1992 -- Star of Indiana and 1999 Cadets of But the concept of drum and bugle corps • 1960s (many years) -- Blessed Sacrament Bergen County honored the American flag in was still strictly military in nature, with a Golden Knights, National Emblem March their patriotic shows. military style of marching. 1960s -- Chicago Cavaliers, Battle Hymn of The Racine Scouts had a move at the end of There were mandates requiring VFW and AL the Republic. the color presentation where members of the inspections of uniforms and hair cuts. There • 1961 -- Hawthorne Caballeros, Toreador Song guard, including the American Flag bearer, did were many requirements for what had to be from “Carmen.” the famous pose from the flag raising at Iwo included in a drum corps show -- a color • 1962 -- Hawthorne Caballeros, “El Cid.” Jima. presentation with the American flag, the name • 1963-64 -- St. Kevin’s Emerald Knights, Stars At the time, they were penalized heavily for of the sponsor on the bass drums, carrying the and Stripes. It had the symphonic ending, various flag violations. Nevertheless, the staff VFW or AL flag, required entry and exit while written by Frank “Buddy” Bergdoll. and kids thought it was worth it to perform the crossing lines at specific times. • 1964 -- New York Skyliners, “Victory at Sea” move. And there were restrictions -- refusal to medley, written by Hy Drietzer. The Madison Scouts also performed the Iwo allow grounding of equipment, stringent • 1965 -- Chicago Royal Airs, John Brown’s Jima ending to Stars and Stripes Forever regulations on percussion equipment and field Body. during their 1976 Bicentennial production. restrictions preventing development of certain • 1964-1971 -- Troopers, Battle Hymn of the When Johnny Comes Marching drill patterns. Republic. Home Again/American Salute And there were different rules for each • 1966 -- New York Kingsmen, “Of Thee I In pre-DCI years, when patriotic flag association (VFW, AL, etc.). Sing,” written by Bob Bunce. presentations were a mandatory part of the But the drum and bugle corps activity • 1968-1969 -- Racine Kilties, Brotherhood of drum and bugle corps field show, When Johnny wanted to change and grow and to expand the Man, from the Broadway show “How to Comes Marching Home Again (composed in restrictive boundaries. The corps’ Succeed in Business Without Really Trying.” 1863 by Patrick Gilmore) and/or its 1943 managements had been requesting rule • 1968 -- Des Plaines Vanguard, Fanfare for the orchestra adaptation by Morton Gould called changes since the early 1960s; some were Common Man/Simple Gifts. American Salute, had been one of the most 107

BraiNtree warriOrs, Braintree, MA (1957). tri-COmmuNity Blue laNCers, Newtown Square, PA (1958). Blue rOCk., Wilmington, DE (1960). Photo by Walter Ermel from the collection of Ron DaSilva. Photo by Walter Ermel from the collection of Ron DaSilva. Photo by Walter Ermel from the collection of Ron DaSilva. popular songs played in competition. from 1960-1991 (32 consecutive years). It was A new corps called the Troopers appeared at In the 1950s, it was played by six different not played in 1992. Legion Nationals in Denver, taking fourth place corps; in the 1960s it was played by 51 different Its peak year for drum corps performance and playing Ghost Riders in the Sky, which was corps; in the 1970s played by 68 corps and in was 1964 when it was featured by 23 units. also being played by Scout House. the 1980s by 18 corps. It was still being heard Throughout the decade of the 1960s, selections The Boston Crusaders were the first drum in the 1990s as well. from “The Sound of Music” were played by 92 corps to march in a Presidential Inaugural 1960 corps, during the 1970s by 31 corps and in the parade, being invited by their long-time fan Most played selections: Battle Hymn of the 1980s by 17 corps. Its popularity dwindled in (and honorary member), John F. Kennedy, and Republic, You’re A Grand Old Flag (tie). the 1990s. two San Francisco corps, Cathay and St. Mary’s, The brass choir was completed with the In 1960, the Garfield Cadets played a were in the movie “Flower Drum Song.” addition of the contra bass bugle in 1960 and concert piece called Intermission Riff from Stan Amboy Dukes and Pittsburgh Rockets used the mellophone bugle in 1963. Although the Kenton. an outer space theme, Blessed Sacrament piccolo soprano and the flugel bugle were also Cliff Richmond has cited the following corps tossed a gold basketball around on the starting available, their use seemed to be limited to as “brass gods” of the 1960s: Blessed Sacrament line to warm up and there were complaints special effects. Golden Knights (1960-1964), Jim Day, arranger; about the rock and roll antics on the field. The Cavaliers were a dominant corps Madison Scouts (1960-1962), Nick Vendon, St. Kevin’s Emerald Knights played throughout the 1960s, winning 80% of their arranger/instructor; St. Catherine’s Queensmen Slaughter on 10th Avenue for concert in block shows. (1961) and Our Lady of Loretto Knights (1962) formation, Paramount did “Snow White and the They took either first or second place at with a very strong, loud and in-tune 27-man Seven Dwarfs” and the Vasella Musketeers’ drill VFW Nationals every year from 1957 through horn line -- Joe Genero was arranger/instructor had a flying diamond. 1963, dropping to third place in 1964 and then for both the Queensmen and Loretto; St. Kevin’s Emerald Knights had one of the first or second from 1965 through 1969. Hawthorne Caballeros (1960-1962); and New best GE drill/shows of the early 1960s (1961- In 1960, the Kilties introduced their York Skyliners, any year that the late Hy 1964). Designed and taught by Cliff Fisher trademark Auld Lang Syne. They used this as Drietzer wrote for and taught them. (who was also the drum instructor), it featured their closing number for 13 straight years from 1961 the corps marching at double intervals (which 1963 to 1975, making this one of the most Most played selection: “Exodus.” may have been a first), a terrific color guard played musical numbers by a single corps. In 1961, the VFW approved bugles with and incredible field coverage. A favorite visual feature of the 1960s Kilties built-in rotors, thus making the musical The Hawthorne Caballeros introduced was their drum major doing the Highland fling possibilities even broader than they had been timbales, bongos and congas, which were on crossed sabers while the assistant did it on with single-piston bugles. Also in this year, a appropriate to their Spanish repertoire. Bobby the bass drums. horn difficulty caption first appeared on the Hoffman -- later of Bridgemen and Velvet The Troopers, Cavaliers and the Anaheim score sheets. Knights fame -- played timbales for the Kingsmen were leaders in establishing the The Cavaliers had an undefeated season in Caballeros and Don Angelica was the soprano co-starring role of the color guard. 1961, winning 21 consecutive contests with a soloist after aging out of the Garfield Cadets. The Rochester Crusaders started tossing three-member staff: Sal Ferrara on brass, Frank He also wrote several numbers for the rifles and added female instrumentalists to the Arsenault on percussion and Len Piekarski on Caballeros and was horn instructor/arranger corps and Archer-Epler Musketeers fielded a M&M. Their program included: Fanfare from for the Garfield Cadets until 1964. huge guard of 20 and performed a Dixieland “Gypsy,” Desert Song, Summertime, Battle Bill Hightower, one of the activity’s greatest theme with South Rampart Street Parade as a Hymn, Love is a Many Splendored Thing, baritone soloists, was with St. Catherine’s of concert number. Somewhere Over the Rainbow, I’m Always Sienna Queensmen in the late 1950s until 1961. The Reilly Raiders painted their bugles Chasing Rainbows and I’ve Got Plenty of Then he moved to solo with the Long Island green in 1958-1959 and cut their huge horn Nothin’ from “Porgy and Bess.” Sunrisers from 1962 to 1964. line from 75 to 60 in 1960. Their tight percussion line was known as Another of the great baritone players was “The Sound of Music” the “Fabulous Three Ms” (snare line) and the John Simpson of the U.S. Air Force corps at “The Sound of Music,” with music “Associates” (tenors, bass and cymbals). Their Bowling Field in Washington, D.C., Sky Ryders composed by Richard Rodgers, made its outstanding snare drummer, Mitch Markovich, (Hutchinson, KS) and the New York Skyliners. Broadway debut on November 16, 1959 and won 12 national and 23 state individual and 1962 drum corps adapted its popular themes the very group percussion championships in the drum Most played selection (1962-1966): “West next season when the Garfield Cadets, corps activity during this time. Side Story.” Pittsburgh Rockets and Miami Vanguard each This was also the first year of the Drum The Cavaliers did the “job of the year” to played selections from that musical. Corps News (Revere, MA) publication. successfully defend their VFW crown, but their Subsequently, it has been as popular on the The Hawthorne Caballeros had the largest winning streak was broken by their cross-town drum corps field as it was on the stage, being guard in the East with 22 and the Purple rivals, the Chicago Royal Airs, who beat them a played by at least one drum corps each season Knights (Rockford, IL) led the Midwest with 18. few times and who took second place at VFW. 108

st. JOsePH’s irONBOuNd Cadets, Newark, NJ (1957). PatersON Cadets, Paterson, NJ (1958). Baysiders, South Amboy, NJ (1960). Photo by Walter Ermel from the collection of Ron DaSilva. Photo by Walter Ermel from the collection of Ron DaSilva. Photo by Walter Ermel from the collection of Ron Dasilva. The Garfield Cadets, who took third place at title, followed by Phantom Regiment, Racine the females were replaced by an all-male guard VFW Nationals, were first to use the contra bass Scouts, Troopers and Madison Scouts. and the girls went to other corps where they bugle, which they debuted at the Symphony Phantom’s excellent winter guard, the sometimes had the pleasure of beating their Hall standstill in the Spring of 1962. Phantomettes (taught by Phantom director Alex former corps. St. Lucy’s Cadets also had a Their crowd-friendly show included: “King Haddad) was a strong competitor at circuit and co-ed corps until 1963 or 1964. of Kings,” French National Defile, March of the nationals and they provided a model for the The Anaheim Scouts (who would split and Olympians and a “West Side Story” medley for outstanding Troopers’ winter guard. become the Kingsmen and Velvet Knights in concert. 1963 1964) had an all-girl guard wearing Girl Scout Other early corps to use contras in In 1963 the mellophone bugle was uniforms. The following year, they switched to competition were the Hawthorne Caballeros introduced, having been invented by Dominick an all-boy guard while the girls would form an and St. Raphael’s Buccaneers. Del Ray, the bugle instructor/arranger for the independent competitive guard. Madison took sixth place and this was the Springfield Marksmen and Troy Interstatesmen, At their first field contest, they caused a stir first year of their forest green cadet uniforms which were the first two senior corps to with their flag twirls off the line. Anaheim and one of their best horn lines. actually field the horn. brought the controversial contra bass to the Their music, written and taught by Nick The Cavaliers again became VFW National West this year and the Aurora, IL, Vaqueros Vendon, included “Camelot” overture as the Champions playing several selections from introduced it in the Midwest. opener, the theme from the old TV show “Porgy and Bess,” with the Troopers in a distant Garfield Cadets played Ritual Fire Dance “Outlaws” into concert, Ballet in Brass for second place. There were a number of and the Belleville Black Knights played concert, Ritual Fire Dance for production, newcomers to the VFW top-12. selections from “Victory at Sea.” You’ll Never Walk Alone for color presentation Don Angelica moved west to teach the St. Mary Cardinals executed a dramatic, and exiting to Finlandia. Troopers (they captured the VFW National color full-corps 90-degree wheel when they played The Troopers first appeared in the Midwest guard award) and Hy Drietzer filled Angelica’s Tropical Heat Wave, after a full-corps company with Pete Emmons as drum major. This was position as Garfield’s brass instructor; Truman front from off the line. probably their first “national” tour (to Crawford moved from the East to Chicago, to Although it wouldn’t actually arrive in full Minneapolis VFW Nationals). However, on their become musical director, arranger and brass glory until the 1980s, at this time it was felt own web site in 2002 they mention having instructor for the Royal Airs. that the era of the “theme corps” was nearing attended a beer fest and drum corps contest in The Kilties were creating excitement with its end and would shortly pass into oblivion. Racine, WI, in 1960. 18 bass horns and nine-part music. Their Audiences complained that color guards were The summer of 1962 was the one audiences program included: Hands Across the Sea, A beginning to detract from what the rest of the first saw the Troopers’ sunburst, which was so Foggy Day in London Town, Song of the Volga corps was doing. popular that the corps continued it for 17 years. Boatman, America and Auld Lang Syne. In the Drum corps was receiving more media The Blue Knights (Denver, CO) were fall, 12-year-old Scott Paulson became drum publicity; two drum corps radio shows were awarded the parade prize by Shirley Jones on major of the Kilties. going strong -- on Saturday in Beacon, NY, and the occasion of the world premier of the movie He would lead that corps to three national on Sunday in Los Angeles. “The Music Man.” VFW titles, the first at age 13, and appeared News articles, which previously had given Blessed Sacrament previewed the first again as DM for the 1992 reunion corps at DCI! little attention to the music, were now rudimental bass drums, the American Legion Blessed Sacrament’s drum line was in a beginning to give previews of what the corps Uniformed Groups Congress (reluctantly) league of its own. They also marched an would be playing for the upcoming season, granted approval to the contra bass, head chop outstanding 36-member horn line with an along with the size of the corps, including moves were becoming popular, being led by incredible sounding baritone line and after breakdowns of numbers of horns, drums and Reilly and Madison, and Madison and the Royal 1962 they also carried two contras. guard. Airs’ guards carried battle axes. Lt. Norman Prince was fielding 62 horns. 1964 Phantom’s drum major did the twist during Many corps were pulling away from the Euphoniums and mellophones were starting their concert of Hard-Hearted Hannah, exclusive use of the standard 26 drumming to appear in the juniors at this time, along with Boston’s color presentation was And This My rudiments and trying new ideas. Larger flag mellophone solos played by Ken Norman of the Beloved and the Quebec Diplomats were playing lines were beginning to appear, with St. Kenosha Kingsmen, who would also start “Ben Hur” and Come to the Fair. Joseph’s of Batavia’s 16 being one of the largest writing brass arrangements. The Hawthorne Caballeros fielded 54 horns, and the Racine Scouts’ guard carried genuine The Kingsmen’s varied repertoire in this era Sunrisers played Claire de Lune, Reilly played Australian boomerangs. included: Love Walked In, Samson and Delilah, the Love Theme from “Romeo and Juliet,” the There are several instances of corps going “The King and I,” Washington Square, “King of Knights of Cathay played “Swan Lake,” St. Rose co-ed, then switching back or vice versa. One Kings,” Somewhere, Charlie My Boy and Love Scarlet Lancers played Rhapsody in Blue and example was St. Raphael’s Buccaneers, who had is a Many Splendored Thing. the Norwood Park Imperials played Danny Boy. girls in the guard until 1963. Then in a Also in 1964, horns such as the tenor Norwood Park won the VFW color guard management decision (instigated by the parish) baritone bugle were being phased out and 109

BriGadiers, Gloucester, NJ (1960). satellites all-Girl, Trenton, NJ (1960). little FlOwer, Baltimore, MD (approx. 1957). Photo by Walter Ermel from the collection of Ron DaSilva. Photo by Walter Ermel from the collection of Ron DaSilva. Photo by Walter Ermel from the collection of Ron DaSilva. replaced with all-bass baritone bugle sections. or near the top of the drum corps activity from at McCormick Place in Chicago). Chrome bugles were now the color of choice for 1958 to 1968. The 1965 corps was the only one “I’ve come to the full realization that if the almost all corps, although one or two brass in history to win the “Big Three” -- all three Chicago Royal Airs perform at DCI next year lacquer bugle sections could still be found. major titles (CYO, American Legion and VFW). (2002), all of you who know the activity from The slide on the side was being replaced by At the 1965 CYO Nationals in Boston, it was 1980 on will have a chance to see the start of rotors. assumed that the champion was going to come modern drum corps as we know it. Prior to 1964, there had been VFW and from either Boston Crusaders, Garfield Cadets “It is no secret that the Royal Airs were the American Legion National Championships, but or St. Kevin’s Emerald Knights. The Royal Airs corps of the 1960s. I should preface my they were often held in areas at times exclusive were a relatively unknown factor, although remarks by mentioning that the most dominant of each other and it was difficult for most most people had heard that they had been corps for the 1960s was the Kilties, followed by junior corps to attend both. pretty good the previous year. the Cavaliers and Troopers. Two of the first independent national title It was no contest. The Royal Airs came in Even so, Royal Airs was ‘mystic’ among its contests included the Boston-based CYO confidently and shocked everybody with how competition. They only won nationals in 1965, Nationals, established in 1964, following the superior they were in all areas and they won by yet we remember them as the ‘hallmark’ of the World Open Championship, which was founded over three points! era. by Drum Corps News/Fleetwood in 1963. The Royal Airs were “brass gods” from 1963 “This ‘mystic’ phenomenon also is the basic There were several different national to 1968 and the outstanding soprano line of paradigm that drives Madison Scouts devotees. champions during the 1964 season -- CYO: 1964 to 1965 was Truman Crawford’s The Scouts, while wearing two stripes for Boston Crusaders; VFW: Racine Kilties; Dream: masterpiece. Even before the G-F bugles, the getting the last dance award, gained their St. Kevin’s Emerald Knights; Worlds Fair: Royal Airs were noted for a sophisticated, jazzy reputation, like the Royal Airs, from one Chicago Royal Airs; World Open: Chicago horn sound that played challenging and unbelievable season, 1975.” Cavaliers; and American Legion: Garfield entertaining music with rhythms as stirring as Frank Dorritie, who has a long drum corps Cadets. Both in 1964 and 1968, the Kilties any in drum corps, as well as a solid drum line. history -- marching St. Catherine’s Queensmen seemed to come out of nowhere to win the VFW The Royal Airs have been credited with and Sunrisers and teaching Garfield, Nationals of those years. having the first tuned bass drum line in 1965 Connecticut Hurricanes, Boston Crusaders, Thus, 1964 was also the first actual season and they marched this championship year with Blue Devils and Freelancers, as well as being a of “tours,” with the Troopers already having bass baritones (no contras). They didn’t use Grammy-winning record producer -- replied to established the model for national travel. Their contras until 1966. Jim Elvord on the discussion group. isolation from the mainstream of drum corps For the first time, percussion parts had Speaking of the 1965 nationals, he recalled (Midwest and East Coast) forced the corps to melodic lines and became musically interesting. the following story: “Tommy Howell (a fellow tour just to get to any competition (even in This corps set the standard for the future and St. Catherine’s alum) and I hitched along Colorado and Kansas). their recordings were used to motivate horn interstate 80 from the George Washington The Troopers were also one of first corps to lines into the late 1970s. Bridge to Chicago to see the 1965 VFW allow women in their horn and drum lines, Their 1965 repertoire included: Bally Hoo Nationals. We sat on the 50 atop a pile of which was revolutionary for the time, March, John Brown’s Body, Birth of the Blues, cafeteria tables in McCormick Place for what is considering that Santa Clara did not allow Alexander’s Ragtime Band and Watermelon quite possibly the greatest drum corps show in women in sections other than the guard until Man. Their staff consisted of Sie Lurye, history. 1984. founder and director; Truman Crawford “The PAL Cadets, with their Cornet Man Conqueror’s (Hamilton, ONT) concert (brass charts and instructor); percussion by concert, the Troopers, one year prior to their number consisted entirely of a soprano solo, the Mitch Markovich and Dick Brown; and Larry first national title with Pete Emmons and Norwood Park Imperials’ sabre line did the Kaczmarek for drill and marching Freddy Sanford in line, the St. Mary’s Cardinals’ twist and the drum major and horn soloist of instruction. rotating company front on the 50 wailing Archer-Epler wore a wig. One of the most famous marching members Tropical Heat Wave, the Boston Crusaders’ Famous drummer Gene Krupa proclaimed and instructors of the Madison Scouts, was DCI massive sound, the power and precision of the the value of drum corps experience to Hall-of-Famer, Jim Elvord. Writing on the Cavaliers, the mind-blowing intensity of St. professional percussionists and the loudest Sound Machine Drum Corps Discussion Group, Kevin’s Emerald Knights, the rockin’ Kilties horn blast of the year came from St. Kevin’s he said: “If I could have marched in any other . . . no one present will ever forget those when they fielded one of their best and drum corps, other than the one I did (Madison performances. And then came the Chicago gutsiest editions ever. Scouts French horn, 1962-1970), it would have Royal Airs. These two New York City kids The Vassella Musketeers (Philadelphia, PA) been the 1965 Chicago Royal Airs. looked at each other and said, in unison, used four regular (untuned) bass drums (all “When it was my turn to build and drive the ‘Forgeddaboutit.’ ” alike) playing a staggered individual beat. ‘Scoutmobile’ in the middle 1970s, I used the And in another post, Frank said: “The top 15 1965 Royal Airs as the engine prototype. By the way, at the 1965 VFW not only defined what drum The “Big Blue” Chicago Royal Airs were at we marched nationals indoors that year (1965 corps was at the height of its ‘Golden Age,’ they 110

wOOdsiders, Newark, NJ (1960). st. GeOrGe OlymPiaNs, Springfield, MA (1964) st. rOse OF lima πimPerial laNCers, Newark, NJ (1963). Photo from the collection of Ron DaSilva. Photo by Ron DaSilva. Photo by Ron DaSilva. pointed unmistakably to the future. 1965, their farewell song was I Wish You Love. as a theme song into later years. In a sense (through the movement of their Crowd reaction was a classic. Their program, coming close to a “Western” marching members who became instructors), Boston’s 1965 drum major was Dan Kelly, theme show, also included: Battle Hymn, Garfield (and the Austin Grenadiers) begat the who shared the spot with Jim “Stokie” Bonanza, Once in a Lifetime, What Kind of Royal Airs and the Troopers, who begat the Stokinger in 1966. Fool Am I, Black Saddle and Magnificent Santa Clara Vanguard, who begat the Blue Garfield’s “Fabulous 14” drum line was Seven. Devils and so on and on. undefeated and the corps marched off the field However, they lost their grads, Pete “The ‘Golden Age’ is long past, but there are backward. Emmons and Fred Sanford, who went to work signs of a renaissance.” The Troopers had to learn a shortened drill with the Anaheim Kingsmen (and later Santa The Troopers developed a “mystique” that after getting off the buses at World Open; the Clara Vanguard). followed them into the future, thus the years Sunrisers and Troopers started a new trend of Another of the great corps of 1966, the from 1965 through 1970 have been called the motion in concert; St. Kevin’s played a medley Chicago Cavaliers were causing quite an uproar “Golden Age of the Troopers.” From 1964 of Sleigh Ride and Jingle Bells, Les Diplomats with Bully, one of the best of the traditional off through 1968, the Troopers had the best played the “Nutcracker Suite,” Blessed the line pieces. They had a revolutionary drum executed drill program. Designed and taught Sacrament played Cry Me a River, the Beverly line for the time. The tenors played with snare by Jim Jones (who also instructed the drum (St. Mary’s) Cardinals did a salute to JFK while sticks and snare-like parts and they were using line) it was in a league of its own. The playing Mr. Wonderful and the Cavaliers played tuned bass drums. The horn line was a rare Troopers’ vintage company front to the 50 off for President Johnson when he was in Chicago. combination of raw power and subtle playing, the line really excited the crowds. One of the earliest examples of dancing was with occasional in-your-face parts. The Troopers’ color guard was just as the Connecticut Royal Lancers doing the The drum corps press was reporting when proficient at marching as the corps proper. The “Mouse” to Hy Drietzer’s Downtown in 1965. each corps obtained mellophones and 1965 to 1970 corps had the best marching color You’ll Never Walk Alone contra basses and how many. The valve/rotary guard on floor or field. In 1965, 28 different corps played You’ll bugle was being used. Now everyone had tuned The use of color guards had undergone a Never Walk Alone from Richard Rodgers’ 1945 bass drums and they were being played with tremendous revitalization. Instead of being just musical “Carousel,” beating the record of 1964, two mallets. Each corps marched at least two an auxiliary to the corps proper, color guard when it had been played by 24 different corps. rudimental bass drums. These instruments members were being integrated into the In the 1950s this piece was played by at least were featured in competition, showing off their performance to highlight the productions. 15 corps, including the Madison Scouts who melodic capability. The Troopers were pioneers with the introduced it in 1952, the first year they The percussion members were featured Midwest Color Guard Circuit where they won a entered VFW and placed second and with whom visually. In nearly every corps they wore berets “three-peat” as well as national titles in the it was to become most closely associated as a and went through elaborate routines of arm VFW and AL. farewell theme song. movements -- over the head and behind the The Boston Crusaders were also one of the The Scouts played it for 15 consecutive back, one at a time or in tandem, twirling the great corps of the 1960s. At the 1965 VFW years, from 1952 through 1966. Throughout sticks and through drill routines of spinning Nationals where Boston took sixth place, their the 1960s, the piece was played by 75 different criss-crossing. horn line hardly had a break for the first 10 corps, in the 1970s by 36 corps and in the The VFW Nationals seventh-place corps, St. minutes. Their program went directly from 1980s by six corps. Lucy’s Cadets, carried a horizontal rack with Hava Nagila to I’ll Walk with God. Snare-tenor drum combinations were first three cymbals mounted about chest high and When Boston played Hava Nagila from 1963 used by Westshoremen-Bonnie Scots and two mounted waist high, played with two through 1968, they had four columns of horns, rudimental bass drums were becoming popular. mallets during a “swingy” show. two on each side of the 50, march toward each In celebration of their tenth anniversary, the While fielding a small horn line, Blessed other, do a 180 just as they passed the other Toronto Optimists made a 16mm sound film Sacrament wowed the crowds as the corps column, march back about 12 to 16 counts, do titled “Fanfare of Bugles, Thunder of Drums.” scattered in small groups toward the corners a 180 and, when the columns came together 1966 while playing A Woman in Love. the second time, they turned toward the stands Titles were spread around in 1966. Boston The Royal Airs played Shadow of Your into squads, which marched forward and the Crusaders won both CYO and World Open, Smile as an exit with the drums tuned to entire horn line did a 180 just before the final Blessed Sacrament won the Dream (over perfection and it was reported that Madison few measures. Chicago Cavaliers, Troopers, St. Lucy’s, Royal made great use of mellophones and a From 1963 to 1965, Boston played Zing Airs and Kilts), Troopers won VFW and Chicago soprano soloist wailed in My Momma Done Went the Strings of My Heart as a concert. It Cavalies won American Legion. Told Me. began in one location, then the corps marched One of the best corps of all time, the 1966 Horn instructor James D’Amico became to another location further back and to the left Troopers, played selections from “How the West Garfield’s new director and Truman Crawford to finish the piece. When the song ended, they Was Won” in the show that won them their first joined their brass staff as arranger. John went right into Russian Sailors Dance. In VFW National Championship and they carried it Brazale, the Spectacle City Mariner’s “Kaptain 111

BridGePOrt Pal Cadets, Bridgeport, CT (1963). New yOrk kNiCkerBOCkers, New York City, NY (1971). st. luCy’s Cadets, Newark, NJ (1965). Photo by Ron DaSilva. Photo by Ron DaSilva. Photo by Ron DaSilva. Krunch,” retired after four seasons as drum experimentation. A blizzard of spin-offs -- by the Velvet Knights. The instrument was major and would later go on to become the double tenors, triples, quads, marching cymbal designed by Zigmant Kanstul, VK’s founder, mastermind of the Phantom Regiment’s racks -- appeared shortly thereafter. board member and instructor, who continued outstanding color guard and the renowned drill The 1967 season is considered by some to be to design instruments throughout the 20th writer for the Phantom Regiment drum corps one of the great years of the Boston Crusaders; Century and into the 21st Century. into the 1990s. they played: Coronation March, El Capitan, The Troopers were also field-testing the Olds The New York Kingsmen had a hot horn Yankee Doodle, To Life, Hava Nagila, On a Ultratone G/F bugles and the Sunrisers were line, written for and taught by Air Force corps Clear Day You Can See Forever and Persian the first seniors to use the G/F bugle, having a alumni Bob Bunce (he also arranged for the Market. complete set when they were American Legion Sky Ryders in the early 1960s). The corps The New York Skyliners played Give My National Champions in 1968. obtained a set of sterling silver horns, as well as Regards to Broadway and the Sunnyvale Sparks The Troopers of that era reinvented a large number of horn players from the first played their new closer We’re Almost marching and maneuvering while also being recently-disbanded Selden Cadets. There. A month later they became the Santa one of the most entertaining corps. Thus, the Perhaps the loudest horn line blast of 1966 Clara Vanguard. 1968 Troopers provided an excellent model of was by the Connecticut Hurricanes. Their 1968 what M&M was all about. drum line was the late Ray Ludees’ Most played selection: Goin’ Out of My In just three short years, drum corps “rudimental’ machine”; almost all of the Head. percussion had evolved from the dark ages into performers had excellent grounding in A change in the political and social climate the future. The new instruments allowed drum rudimental drumming in junior corps that in the mid- to late-1960s helped to legitimize corps to achieve sounds and concepts that either he or the old master, Earl Sturtze, had what previously had been known as “cheap could not have been imagined years earlier. instructed. drum corps tricks.” The country was in the At this time, everyone was coming out with They played Inka Dinka Doo and Heat Wave midst of the Vietnam War and military displays a new multiple drum arrangement, which and in the late 1960s their version of Hang ’em were less in fashion. created some strange sights in the percussion High had a contra line featured with a soprano Also there was an increase in the area. Boston had three or four tympani solo, bells ringing and the rest of the corps sophistication of the individuals who were (individual) of different sizes. doing a pinwheel while in a company front. teaching and judging the units. The drum and The Racine Scouts had one member The Hawthorne Caballeros and Muchachos bugle corps activity was no longer dominated carrying and playing a contraption that held joined into one unit to march in the Macy’s by veterans, but rather, by degreed music two tympani, two cymbals and a tambourine. Thanksgiving Day Parade. majors and experienced or professional teachers They took ninth place at VFW Nationals, 1967 who began to bring new ideas of show design playing: Columbia, the Gem of the Ocean, La Most played selection: Born Free (played by and technique into the activity. Virgen de la Macarena, Who Can I Turn To and 41 corps). A survey of the time revealed that Do Nothing ’til You Hear from Me. The Cavaliers again won VFW Nationals, approximately 20% of leading college band The experimentation finally reached the opening with Bully (for the third consecutive directors had marched in or instructed a drum ludicrous level achieved by St. Lucy’s Cadets’ year) and also playing Tiger Rag and selections and bugle corps. (Newark, NJ) percussion “contraption.” In from “Peer Gynt Suite,” “Porgy and Bess” and An early example of the new design was 1968, Drum Corps News had a picture of a “West Side Story.” Four days later, the displayed by the VFW National Champions, the member of St. Lucy’s hauling the “monster” Cavaliers would also win the American Legion Racine Kilties, who, while playing their (bass drums with skirts/aka garbage can drums) Nationals, making it a double championship percussion feature, Chattanooga Choo Choo around the field, which also had been described year for the “Green Machine.” with seven timpani playing the melodic line, as two or three horizontal basses with metal Rudimental bass drum lines in some corps constructed a primitive visual of a train and cylinders that reached almost to the ground. covered the full eight-note scale from huge moved it toward the stands with a huge crowd Many recall the guy carrying this basses to tiny “mini-drums,” usually carried by response. The audible part of the train also contraption as an incredible sight to behold -- very short members. faded away at the end of the song. everyone was expecting him to trip. Boston’s drum instructor, Gerry Shellmer, Ken Norman’s arrangement of the Kilties By the late 1960s, instruments and launched a revolution in marching percussion. opener, Strike Up the Band, included arrangers had become more sophisticated and He took two bass drums, stood one on the introductions borrowed from the Royal Airs, musical. The loud, emotional and hard-edged other, turned them 90 degrees, created a Troopers, Des Plaines Vanguard and Cavaliers. tradition was blended with proper technique harness and thus the first multi-toms -- two An instrument revolution was underway. and design. tuned instruments carried by one player. The piccolo soprano, marching tympani, This resulted in the new era of the power Boston also had a member play a metal multi-head drums, half-shells, tambourines, corps that lasted for eight years -- from 1968 keyboard instrument. The keyboard timbales and various unclassified instruments through 1975. instruments were declared illegal by the VFW, were showing up everywhere. During this period, corps got bigger, but that led the way toward future This year the Olds G-F bugle was introduced arrangements became longer, volume was 112

st. Paul sCOuts, St. Paul, MN (1970). raCiNe sCOuts, Racine, WI (1972). saiNts, Woodbridge-Edison, NJ (1975) Photo from the collection of Drum Corps World. Photo by Jane Boulen from the collection of Drum Corps World. Photo from the collection of Drum Corps World. increased and crowd response became frenzied. Their choreography, which included their and Sandra Opie instructed. One of the first true power corps was the trademark wagon wheel sunburst and 50-yard Dennisen also did the arrangements for the Des Plaines Vanguard of 1968, who took fourth line pinwheel, was a production from beginning 1969 and 1970 St. Paul Scouts who had an place at VFW Nationals. The corps was bigger to end, providing the fans with some truly outstanding horn line playing a medley of “The and louder than anybody else and just as exciting visual moments and considered by Good, the Bad and the Ugly” and Hang ’em sophisticated as anyone. many to foreshadow the future of drum corps. High and a great rendition of Shenandoah, In that season, they played Man of La Their musical repertoire included: Hang ’em with the “rim shots.” Mancha, Fanfare for the Common Man, Simple High, Battle Hymn, Aquarius, Let the Sunshine The 1969 Yankee Rebels senior corps was Gifts from “Appalachian Spring,” Bali Hai and In, Scarborough Fair, Tumbling Tumbleweeds considered one of the best of the time. They their famous theme song, Bill Bailey. and a memorable field exit which included a were the first to have their color guard Anaheim Kingsmen first used the company front using When Johnny Comes completely integrated in the field program, as maneuver of lining up the color guard on the Marching Home. featured in the Truman Crawford/Rick Maass 50-yard line, a popular set that would later Maggie Kelley, a Santa Clara Vanguard ‘benchmark’ production of “Requiem for an evolve into what would become known as “The alum, described the Troopers of that year: “The Era.” Rockford File” after the Phantom Regiment pursuit of perfection by the well-oiled machine The Sunrisers (aka the “Long Island adapted the idea. on the field. I couldn’t take my eyes off of Conservatory of Music”) marched the first A popular program of the times was the New them, the beautiful timing of the flags and all-girl guard in senior ranks. Wayne Downey York Skyliners playing Mention My Name in rifles, then the sunburst, wow!” played lead soprano with the Sunrisers and a Sheboygan, Give My Regards to Broadway and Up until this time, an actual part of a drum soprano duet with Frank Dorritie in Aquarius. Sing, Sing, Sing. corps field presentation was called a “concert.” Prior to this, Wayne had marched in the When the Little Falls Cadets folded at the The unit actually stood in place and played a Smithtown (Long Island) Freelancers and then end of the 1968 season, their color guard concert selection. in 1970-1972 he marched in the Santa Clara became the first females in the Garfield Cadets In 1969, the Troopers and Sunrisers were Vanguard, as a seasoned veteran of both the for the summer of 1969. among the first units to actually move while Long Island Circuit and DCA. And 1968 was the beginning of the 27th performing this segment. They went from one In the late 1960s/early 1970s, the Sunrisers Lancer’s long reign as “brass gods” with Jim set to another, in what was actually a drill performed an “I can do anything better” Wedge as arranger/instructor. move, not walking around as was often done in number that included snippets from a few of 1969 later years. their DCA competitors. Most played selection: Hang ’em High. For the preliminary contests at VFW Garfield’s 1970 peace sign came into In this last year of the decade, the VFW Nationals, the concert piece was dropped, stop existence as their drill writer, Pete Emmons, National Champion Kilties were said to have time eliminated and the qualifier show was lim- was drawing on a frosty car window. some of the best horn intonation to date. Their ited to six minutes. St. Lucy’s Cadets folded after the 1969 program included Fanfare from “Brigadoon,” Some memorable concert numbers were season, but many of their members went to Strike Up the Band, Brotherhood of Man, Yes Madison’s and Kilties’ renditions of MacArthur Blessed Sacrament, which is one reason that Indeed, MacArthur Park, Chattanooga Choo Park, Santa Clara’s “Fiddler on the Roof” corps was so good in 1970. St. Lucy’s drum Choo and Auld Lang Syne. medley, New York Skyliners’ Lucretia McEvil, major, Jim Russo, took over as drum major of The Cavaliers finished second at VFW, with a Hawthorne Caballeros’ and Muchachos’ the Hawthorne Caballeros the following season. program that was very similar to those of 1966, Malagueña, Blessed Sacrament’s Slaughter on Recorded music was being used in 1967 and 1968. 10th Avenue, St. Kevin’s South Rampart Street competition guard shows. The newest radio Under the leadership of Jim Jones, the VFW Parade and the Cavaliers’ Eleanor Rigby, based station to join the drum corps network was third-place Troopers were the subject of a on a Boston Pops chart, Blessed Sacrament’s WEAW in Evanston, IL, which aired a one-hour special television film “The Troopers are version of Eleanor Rigby coming out of concert show of corps music and chatter on Saturday Coming.” This was quite an appropriate title, (1969) and the 27th Lancers’ “Chicago” medley, afternoons. since it referred to the fact that the Troopers especially the baritone solo in Beginnings. New instruments on the field included were the first corps to undertake and develop Blessed Sacrament also played Hang ’em timpani and flugel horns (used by the Kilties) the concept of long-distance touring. High in 1970 as the into a concert piece with a and orchestra vibes, introduced by the Boston Don Whiteley, who was at the time the great mellophone solo by Erich Schweikhert. It Crusaders and Sunrisers as part of the drum promotions director for the ABC television was right after their short drum break with the line, but prohibited by VFW for the Boston affiliate in Denver, as well as Barbre dueling rudimental bass drums. They also Crusaders. The Anaheim Kingsmen were also Productions (producers of the film), became played a very entertaining “El Cid” as their playing mallet instruments, but discarded them interested in the drum and bugle corps activity. opening selection. before VFW Nationals. He helped the Troopers with their tour The Argonne Rebels began their rule as one The 1969 edition of the Boston Crusaders scheduling and non-drum corps performance of the “brass gods” of the period, lasting was a classic, but they had to scrap their bells opportunities. through 1973. Doug Dennisen was arranger in 1969 in order to compete at VFW, affecting a 113

sHOreliNers, Milford, CT (1972). silver saBers, Salina, KS (1973). PiNe tree warriOrs, Lewiston, ME (approx. 1972). Photo by Jane Boulen from the collection of Drum Corps World.. Photo by Jane Boulen from the collection of Drum Corps World.. Photo from the collection of Drum Corps World. great percussion book in the process. Boston increasingly difficult and virtuostic field shows. decided to “go modern,” on a double bass, i.e., had used the bells in their two percussion Brass two basses of differing sizes laid flat, stuck features: Pop Goes the Weasel and their drum Brass sections were demanding and getting together with wood and attached to me with a solo, Unsquare Dance with a 7/4 time better quality instruments. The two-piston series of slings. signature. Bells were not allowed until 1974 in bugle took the place of the rotary model and “I joined the Garfield Cadets for the 1970 DCI competition. enabled arrangers to attempt more ambitious season, which might have been the first year Thus, by the end of the 1960s, there was an brass writing. These new instruments were they marched timpani, again hung with slings. outcry for national judging standards and a needed to cover the additional tone colors and I played concert cymbals that first year. In general organization of drum corps. And a techniques for the increasing quality of 1971, I played the first multi-tenors -- triples -- prediction was made that, due to the large musicianship. that we used in the corps. Multi-tenors were maneuvering color guards and progressively Probably the most important factor in the another step along the road of progress in difficult music, the next 10 years would have all advancement of the musicality of the activity percussion. playing members arranged orchestrally on the was the fact that corps began to be made up of “The 1970s saw an explosion of new and sidelines and only guards would be judged on experienced musicians -- students who played exciting things in drum corps percussion, from M&M. (It is interesting to note that drum in their high school band or who were college Santa Clara’s use of matched grip and the corps guards would not be judged at all until music majors. special bars they used to hook their drums the year 2000!) Along with this came a demand for the up to . . . marching mallets, top tuned The Seventies finest in brass instruction. More college- basses to roto-toms. We hung all sorts of bags The early 1970s was a great period for drum educated arrangers and instructors began to of traps from snares and tenors to permit us a corps; the East, Midwest and West were all appear on corps staffs in paid positions and they wider array of percussion sounds, from afuches strong at this time when drum corps was brought along their own musically trained to vibraslaps to agogo bells to woodblocks to straightforward, loud, predictable and students to fill the ranks of drum corps. triangles, finger cymbals and just about symmetrical and drummers marched back and As the musical performance of the corps and anything you can think of. fourth on the 50 yard line. the quality of the instruments improved, the “The corps I wrote for and taught in that era The shows consisted of off the line, color demand of the musical arrangements increased. made use of every available sound I could think presentation, production, concert and exit. In This higher level of musicality also attracted up, all while remaining, as today, based on a color guard competition there was posting of more trained musicians to become actively rudimental style of drumming. the colors. involved in the creative processes of drum “Later came grounded percussion leading to The 1972 season marked the beginning of corps. today’s pit -- one of the greatest things to have the modern corps era for the activity. No Educators, who had previously looked down happened to marching percussion. Now any longer -- or rarely -- sponsored by local VFW or their noses at the corps, now were in awe of the acoustic percussive effect could be performed.” American Legion posts, the activity witnessed a high degree of musicianship they displayed. Snare lines gradual loosening of the military tradition as it Both the Madison Scouts and Argonne Thanks to alums Dan Guernsey (Madison), grew in quality and sophistication. Rebels had model brass programs for that era. John Swartz (Oaklands) and Paul Milano Corps began accepting and recruiting Percussion (Cavaliers) for the following information: members outside of their immediate A percussion revolution was already In the late 1960s and early 1970s, most neighborhoods. Continuing a trend begun in underway in the late 1960s and, during the corps marched four snares. In 1970, the the early 1960s by the Troopers, other corps mid- to late-1970s, percussion sections grew Cavaliers began the season with six snares were embarking on extended tours to compete large enough to accommodate the decibel (after practicing all winter with eight). After six in shows across the country. production of the larger brass sections. or seven shows, they cut back to four. And in 1975, PBS stations in nearly every Lines with 10 snares were common and The Cavaliers and the Santa Clara Vanguard state began broadcasting the DCI rudimental bass drums were used. As Gerry marched the 1971 season with five. In 1972, Championships, further expanding the activity’s Shellmer of the Boston Crusaders had been the the Cavaliers started with eight and cut back to visibility and recruiting new members to the percussive giant of the 1960s, Fred Sanford of six. Those lines were the exception; from 1970 top corps. the Santa Clara Vanguard would lead the way in to 1972, most corps maintained the standard A new scoring system was adopted which the 1970s. four. gradually dropped the military elements and Writing on the Sound Machine discussion The numbers explosion did begin, however, emphasized general effect categories over group, Mike Davis recalled: “I started marching in 1971, when Blue Rock was one of the first execution, which encouraged corps to become in a little parade corps in 1964. I marched corps to march eight snares. Following the more entertaining and take greater risks in snare, drum swinging from a single sling with a example of Blue Rock, the Anaheim Kingsmen programming. knee rest to steady it on my leg. came out in 1972 with eight snares, influencing All of this resulted in the “I moved on to a class B Garden State others to follow the next year. professionalization of corps and corps Circuit corps, where I marched in 1968 and In 1973, St. Andrews Bridgemen marched membership, which was reflected in 1969, first on snare and then, as our drum guy nine, the Kingsmen still had eight, SCV had 114

sOCialites, Saugus, MA (approx. 1973). suNsetters, Astoria, OR (1972). Photo from the collection of Drum Corps World. Photo by Ruben Zapata from the collection of Drum Corps World. seven and many other corps had around six to Visual in show design was still to come of age. seven. Six snares seemed to be standard during Drill was growing further and further away So, in the early 1970s, nearly all of the basic the 1973 season. from the old military definition of marching ingredients of total drum corps were present, In 1974, Madison had the largest line among and maneuvering and was becoming more with two more major concepts yet to come -- the major corps with nine snares. SCV, Kilties interpretive of the music. the drill transition and the “total show.” and Hawthorne had seven, while the Kingsmen The original meaning of the term color The final element needed to elevate the had five. Seven seemed to be the average in guard was also becoming obsolete. Drill corps show to what has been called a “new 1974. writers were creating great designs, but often American art form” was the adoption of the In 1975 and 1976, the numbers leveled off there were problems when moving from one “total show concept” -- all elements (brass, to eight, which was the standard number for picture to another. Judges stressed flow and percussion, M&M and color guard) should be most corps. continuity and, as the 1970s and the 1980s perfectly integrated so they could “enhance But a renaissance in the numbers explosion progressed, transition problems were solved. each other to such a degree that the whole began again in 1976 with the Blue Devils Pete Emmons, who was Garfield’s color equals more than the sum of its parts.” having 10. Their example sparked the resur- guard instructor in 1972, was the real impetus This is on one definition of the “total show” gence of the large snare lines of the late 1970s. behind drill innovation. While still primarily concept. A second definition will be given later. In 1977, the Freelancers had 11, the Blue Devils symmetrical, his drills for Garfield in 1971 and The terms “total show concept,” “total concept had 10 and the Madison Scouts went up to 1972, with their “total shows” -- “Revolutionary show” and “total show” will be used nine. In 1977, most lines in the top 25 had War” and “No More War” were way ahead of interchageably. nine or 10. their day. Then, after Emmons went to Santa The show should be a perfect marriage of The 1978 and 1979 seasons were the years of Clara, he brought asymmetrical drill to the sound and sight, “an artistic and entertaining the mega snare lines. In 1978, the Phantom forefront (1980). synergism of audio and visual effects that move Regiment, 27th Lancers and Madison Scouts all The other very innovative drillwriter of the with logical flow and continuity to produce one had 12, followed by SCV in 1979 with the same period was Bobby Hoffman, who was the unified entity rather than a series of number. primary visual person at Bayonne as well as at independent productions.” Other lines had around 11 as well -- North Garfield in 1970-1972. Pete and Bobby were A number of corps were innovative Star had 10 in 1979 and the 27th Lancers had the “godfathers” of George Zingali and Marc throughout the decade. The Santa Clara 12 in 1980. Sylvester. Vanguard with their percussion and brass in the The numbers explosion of the late 1970s The combination of Ralph Pace’s drill early part of the 1970s, their bottle dance (one ended in the early 1980s when most lines went designs and George Zingali’s guard work made of the most famous moves in drum corps) and back to the standard seven to eight snares. the 27th Lancers a leader in visual design bringing asymmetrical drill to the table (1980); However, the Crossmen had 10 snares in 1987, during the 1970s. Largely due to the influence the Blue Devils with their jazz style; Madison eight in 1988 and nine in 1989. of George Zingali, drill writers became Scouts with brass, Bridgemen in percussion; These lines were standard until 1988 when choreographers. and the entertainment factor of Bridgemen, Star of Indiana came out with six (against seven All visual aspects of the show had to Muchachos, 27th Lancers and Velvet Knights tenors). It wasn’t until then that small snare enhance the music and color guards (in the 1980s). lines were acceptable. The following year many outperformed each other in attempting new Shows that changed lines had six, seven or eight snares, which put a and innovative equipment and body work. the direction of the activity lot of snare drummers out of a spot. Memorable visual events of the 1970s Writing on the Sound Machine Discussion In the early 1970s, the Skyliners marched a included Anaheim/Phantom/27th Lancers’ Group, DCI Hall of Famer James Elvord made line of seven snares and seven tenors, who used “Rockford File”; Blue Devils’ Channel One “V”; the following observations: “In my brief time snare sticks and turned on the snare several Santa Clara’s “bottle dance,” maypole and watching the activity (1962-2001) there are times during the show when the entire line bedposts; 27th Lancers’ double flags, rifles several shows that fit the bill of being played the same parts. through the drum line on the 50 and rifles controversial. I’m assuming these shows must During the drum solo they spun the tenors spinning horizontally while the guard was lying have changed the way corps were adjudicated. upside down and the opposite head was a snare on their backs. “The mid-1960s Troopers were unjudgeable drum, so then they had a mammoth 14-man Innovation because they were the first corps to use snare line. The Cavaliers, Madison Scouts and Garfield curvilinear forms when the rest of the corps In the early 1970s, carriers didn’t exist -- Cadets were three of the earliest corps to have were linear. Plus they were the first to use everything was played with slings and leg rests. theme-oriented shows. They were very double extended intervals throughout most of Carriers for tenors preceded those for snares. entertaining, but were often hurt by the their shows. Some corps started using carriers for their military organizations/judges who didn’t or “The 1970 and 1971 Madison Scouts also snares in the late 1970s and most corps were couldn’t accept the shows. changed the rules. Those shows -- along with using them by 1980, but the Bridgemen held They were years ahead of their time and Chicago Cavaliers -- were a departure from out the longest, still using slings in 1982. most people felt that entertainment as a factor military shows and weren’t received well by the 115

stardusters, New Orleans, LA (1971). surFers, New London, CT (1975). saCred Heart Crusaders, Manville, NJ (1973). Photo by Jane Boulen from the collection of Drum Corps World. Photo by Jane Boulen from the collection of Drum Corps World. Photo by Ron DaSilva from the collection of Drum Corps World. VFW. If you remember, Madison wasn’t allowed Beethoven’s “Ninth Symphony” became and 1955, all years that they came in first at to perform in their costumes at finals and they legendary with the Phantom Regiment as a VFW Nationals. In 1965, the Yankee Rebels had to wear hairnets to boot. result of their 1978 and 1979 shows. played Conquest OTL. “The 1973 Santa Clara show, because of its Band pieces in the 1970s, The Sunrisers played the film version when complexity, caused many rule changes the Relative newcomers to the activity may they won Legion Nationals in 1968. Boston following fall. What other corps were doing at think that the Cavaliers and Cadets of the late played the full version of Conquest in 1968, that time wasn’t cutting it against Santa Clara’s 1980s and early 1990s were the first to program 1969 and 1970. superior intellectual muscle. band music, but it was played in the early 1970s Because Conquest is short, it has been “We were still ‘drive-in movie, park and -- 1971: Blue Rock’s American Salute, Argonne lengthened by different corps with fillers in the blow.’ However, we did retool! In 1979 (note, Rebel’s Barnum and Bailey opener, Muchachos’ middle of it. In 1969, Boston played Conquest Elvord said 1979, but he may have meant 1980), La Fiesta Mexicana by H. Owen Reed, with Caravan in the middle and ended the song the Santa Clara Vanguard, with asym- Anaheim’s and Troopers’ March from Holst’s with Conquest. metrical as its paradigm, led the way to the “First Suite in E-flat”; 1972: Garfield’s opener Following the Mancini jazz arrangement of shows we are seeing now. What a show to was Clifton Williams’ concert band march, The 1968 and 1969, Ed Denon, their brass arranger, watch and learn from! Sinfonians, as well as selections from Gustave added the original “Captain from Castille” to “No list of controversial shows would be Holst’s suites for bands (Chaconne from the the front of Conquest, thus in 1970 Boston complete without numerous Cadets, Blue Devils “First Suite in E-flat” and their drum feature, played Conquest-Captain from Castille- or Cavalier shows. These corps, along with Song of the Blacksmith from “Second Suite in Conquest. Santa Clara Vanguard, are not only writing his- F”); 1973 Santa Clara Vanguard’s Fanfare and In both of these years, the soprano solo was tory, they are, in my opinion, turning the pages Allegro; 1973 Anaheim’s and 1979 27th Lancers’ written by and played perfectly by Jim of history. They are challenging us with their “English Folk Song Suite” by Ralph Vaughan Centorino, the greatest soloist the Boston entertainment attempts.” Williams; and 1975 Cavaliers’ Russian Crusaders ever produced and most renowned Musical trends Christmas Music by Alfred Reed. for his wailing Conquest feature. Musical programs continued to evolve from 1970 Thanks to Martin Broomell for supplying quasi-military to show biz as they began to inte- Most played selection: Battle Hymn. Jim Centorino’s own explanation of the solo: grate jazz, classical, pop and Broadway into In the first year of the decade, the VFW “My solo was an adaptation of the trumpet solo their increasingly creative repertoires, Champion Troopers lost only one show (to originally done by Pete Candoli on Henry generating a new kind of excitement. SCV). Their show was a favorite with fans, Mancini’s 1967 record of Conquest. Candoli’s Latin jazz, particularly tunes by Chuck including: Promised Land from “How the West was a jazz solo that I was told (by Ed Denon) to Mangione and Maynard Ferguson, pushed aside Was Won,” Hang ’em High, Battle Hymn, Gary listen to and adapt to the Crusaders’ the march to dominate drum corps’ musical Owen March, Aquarius, Let the Sunshine In, arrangement. I listened and adapted it. programming. Corps thought nothing of play- Black Saddle and When Johnny Comes “Ed Denon was the horn instructor who ing the same songs as other corps in the same Marching Home. arranged the Mancini arrangement. It was year and the following year they were quick to They did a hoe down, which added to the added as a part of the arrangement, but Denon pick up on hits of other corps. effectiveness of their program. Their marching never wrote it down . . . it became sort of a The following musical productions became model led the way toward more cleanly stock ad-lib solo that I used to hear being tried associated with specific corps in the 1970s: executed shows by other corps. by ear every time I passed through buses Legend of a One-Eyed Sailor (Blue Devils); The 1970 season was Boston Crusaders’ best belonging to just about any of our competitors. MacArthur Park (Kilties and Madison Scouts); finish at VFW Nationals where they took second I took it as a compliment. “Symphony Fantastique” (Anaheim Kingsmen); and won top drums. However, this would be “It became part of the tune that we played in Crown Imperial (27th Lancers); and Barnum the last hurrah for this 1960s power for quite 1968, 1969 and 1970 . . . to the best of my and Bailey’s Favorite (Argonne Rebels). some time. recollection.” The 1970 version seems to be the Specific tunes became signatures for They presented a driving performance of favorite of most fans, even though the “best of” certain corps -- Somewhere Over the Rainbow Conquest from “Captain from Castille,” “Man of CD has the 1969 version. became associated with the Cavaliers and the La Mancha,” Promises Promises, Hava Nagila, In 1973, the Blue Stars played a chunk of Sky Ryders; Madison’s farewell song was You’ll California Dreamin’ and finished with Conquest as part of their closer. Never Walk Alone, while the Cavaliers played Conquest. In 1974, the Hawthorne Caballeros played Softly as I Leave You. Conquest Conquest-Captain from Castille-Conquest, The 27th Lancers concluded with Danny One of the most famous pieces in drum complete with the Centorino solo as well as a Boy and still played in 2001 are the Kilties’ corps history is Conquest, from the film Spanish sound. Auld Lang Syne and Boston’s Conquest. “Captain from Castille,” and is generally The last time Boston played the full version The bottle dance was made famous by the thought to belong to the Boston Crusaders. of Conquest was in 1998. Conquest recalls a Santa Clara Vanguard in connection with their However it was played off the line by the St. time when drum corps was loud, emotional and production of “Fiddler on the Roof,” and Vincent’s Cadets as early as 1950, 1952, 1953 hard-edged. No single song has ever gotten the 116

mellO-dears all-Girl, Owego, NY (approx. 1978). Nee Hi’s all-Girl, Clinton, IA (1972). st. JOsePH’s OF Batavia, Batavia, NY (1968). Photo by Art Luebke from the collection of Drum Corps World. Photo by Paul Jensen from the collection of Drum Corps World. Photo from the collection of Drum Corps World. crowd response achieved by Boston in 1970 played in their closer, Ding, Dong the Witch is “When we came off the line with Festive with this piece. Dead, during which a casket of the dead witch Overture into Procession of the Nobles (in Thirty years later, when they play just a few was carried off the field. 1970), we were all in a bunch in the far upper notes from it, they still get a great crowd At the time the show was quite lefthand corner and then spread out in response. Sometimes they do just the short controversial, but it was also very entertaining ever-expanding arcs (like a ripple of water). We version (1999, 2000, 2001) called the “Conquest and it inspired a lot of imitators the next year. really had to make sure that we all entered from Shots” with audience response, which goes as It is somewhat ironic that the Madison Scouts, the far left side of the field (being sure to go follows: Quarter Quarter “HUH!” Quarter who are perceived as the guards of tradition at around a pylon) or else we would get ticked for “HUH” Quarter Quarter Quarter the end of the 20th and beginning of the 21st entering from the side line. “AAAAAAAAAH.” Century, were considered the bad boys of drum “As much as I loved being on the field, I The 1970 season was also Jim “Stokie” corps for their antics in their shows of the early enjoyed even more hearing that gun go off near Stokinger’s last year as Boston’s famous drum 1970s. the end (sigh of relief). No more ticks major (considered by fans to be one of the best The 1970-1973 Argonne Rebels had the coming your way unless you didn’t step over ever). He was drum major from 1966 through cleanest soprano line, thanks to Sandra Opie, the finish line in time.” 1970 and Centorino marched in Boston from one of the best horn instructors in drum corps The 1970 season was the first of Santa 1967 through 1971, then with the Rhode Island history. And the 1970-1979 Hawthorne Clara’s long tradition of playing selections from Matadors senior corps from 1974 until 1982. Caballeros were senior “brass gods,” with Larry “Fiddler on the Roof.” Throughout the 1970s, Speaking about the Cavaliers’ 1970 Kerchner as arranger/instructor. Santa Clara would provide some of the greatest program, Madison alum Dan Guernsey wrote: The culture of the late 1960s and early corps shows in history. “The Cavalier’s opener, Ten Commandments, 1970s brought the influence of the rock culture Their creative director, Gail Royer, who also blew me away. In listening to the old to drum corps, which resulted in some corps produced many of their musical arrangements, recording, I’m still impressed by those great trying to make musical/political statements -- determined that Santa Clara was going to play McCormick drum charts of 1970, including the Garfield Cadets, who debuted the music in a musical way. Land of a Thousand Dances and Eleanor Rigby. controversial peace sign which Pete Emmons Thus, he developed a program that I loved the Cavalier bass drummers especially; had conceived in 1969. epitomized characteristics of excellence in a they always exuded a tough image.” It was brought to the field with the help of drum corps, setting the standard for other Blue Stars played This Could Be the Start of Bobby Hoffman and executed during Jefferson corps throughout the 1970s and beyond and Something Big, launching a great 1970s career Airplane’s White Rabbit, but some VFW- demonstrating that drum corps had the for their organization. influenced judges dumped the corps, which potential to become an outlet for artistic Fun and entertainment began with the nearly cost them a spot at VFW National Finals abilities beyond where it had dared to go Madison Scouts. In the early 1960s, the Scouts’ at Miami in 1970. before. use of classical music and Broadway show tunes The surprise of the season was the young 1971 marked a change from their original identity as Santa Clara corps which came from the West Most played selection: Battle Hymn. a traditional military march and bugle call-type Coast (after upsetting the Anaheim Kingsmen The 1971 season was one of the most corps. In 1970, the Scouts led the way in and Velvet Knights at California Legion State) turbulent, yet influential years in drum corps poking fun at the militaristic side of the drum into the Midwest (seemingly out of nowhere) history. There was a great deal of competition corps activity by presenting an “Oz” fantasy and competed in seven contests, winning five of between the top 10 corps, with most of them (with brass charts by Ray Baumgardt). them and, in the process, defeating the Madison beating each other during the season. The first three pieces in their show were Scouts and all three reigning national This was the last really meaningful VFW typical late 1960s drum corps, e.g., this was the champions (Chicago Cavaliers, Racine Kilties Nationals (held in Dallas, TX); the Santa Clara last year that they played You’ll Never Walk and Casper Troopers) at least one time. Vanguard won finals (their first national title), Alone in competition. During the concert, they Their program showcased a magnificent but they did it without winning any captions. had a young boy pretending to be a soloist drum line and a clean drill unlike any that had It was also the last season where the national while the real solo was being played behind been seen before. Everyone was astonished -- titles were “spread around.” him. A couple of bars before the solo ended, no one had expected this relatively unknown Santa Clara won VFW, the Argonne Rebels the boy stopped playing his horn to unplug it corps to be so good. won Legion, Blue Rock won both the CYO and while the real solo continued. Santa Clara Vanguard alum Maggie Kelley U.S. Open. The 27th Lancers won the World The following season they would expand the (guard 1970-1975) described the gunshot: Open, Danny Thomas Invitational and Dream. concept into a full-blown “total concept show.” “Back in the old days we used to have to start Anaheim Kingsmen won the Mid-American title In 1970, they mimicked toy soldiers marching from the ‘starting line’ at the left side of the (Overland Park, KS) and De La Salle Oaklands while playing an arrangement of “Babes in field. When the first person (or group of won the Canadian National Championship. Toyland,” pranced around the field during We’re people) set their foot over that starting line, the In the seniors, the New York Skyliners won Off to See the Wizard, and a section of the judge would signal the official start of timing the DCA and Dream titles. Hawthorne won the corps skipped to the finish line after a solo was with the starting gun. Barnum Festival in Bridgeport and the Yankee 117

Nisei amBassadOrs, Chicago, IL (1968). CraNFOrd PatriOts, Cranford, NJ (1976). Pal Cadets, Philadelphia, PA (1975). Photo from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World. Rebels won the American Legion Nationals. else in terms of both quality of sound and using a show concept by Larry McCormick, they Show design was becoming a major execution.” were, literally, a three-ring circus, with a concern. In this year, a number of corps tried Their repertoire included two numbers from ringmaster, a clown, a juggler and a magician. to liven up a strictly military marching activity the previous year -- Barnum and Bailey’s Shocked fans either loved or hated the with entertaining features and elements of Favorite and Stars and Stripes Forever, and one Cavaliers. The show was good; the drill was, for innovation -- even risk-taking. new number, a “Jesus Christ Superstar” medley, the most part, traditional Cavaliers -- Santa Clara had tumblers in their “Henry V” arranged by Doug Dennisen. well-executed, with excellent brass and opener, Wayne Downey was soprano soloist in Advent of the “total show concept” percussion. But they suffered competitively their concert number, Matchmaker (1970 Putting their own theatrical twist on a that year as the judges tore their show apart. through 1972) and played the duet in If I Were military subject, the Garfield Cadets creatively Because of the drastic change in style, they a Rich Man with Dave Luciani in 1970 and depicted the American Revolution, with half of fell in the rankings, placing eighth at the World 1971. In 1972, the duet was played by Danny the guard on American flags and half on Open and second at Legion Nationals, five Vannatta and Mike Moxley. British flags, using a repertoire of no less than points down from the Argonne Rebels. SCV’s 14-year-old snare drummer, Rob 14 pieces. Entertainment was already expected from Carson, won his first individual contest in 1971 The show opened and closed with a Yankee the Madison Scouts, so they did not present and later he would go on to instruct the corps Doodle tag, included Holst’s “Chaconne in such a radical departure. They continued the The Troopers’ “Wild West” show featured E-flat,” a spot to dramatize the Christmas development they had started in 1970, by two contra players riding their ponies (horns) attack on Trenton, where the “British” mid/low staging a very entertaining “Scouts in during the William Tell Overture. brass and one-half the percussion played a Fantasyland” (aka “Alice in Wonderland”) show. In 1971 and 1972, the 27th Lancers played minuet while the sopranos and other half of the Again playing Parade of the Wooden Chicago’s Does Anybody Really Know What percussion played a hoedown depicting the Soldiers and selections from “The Wizard of Time It Is? and Beginnings (noted as a favorite Americans. Oz,” they marched around like toy soldiers in concert number, with a baritone soloist It was a 3-against-2, dance-like segment the opener and had a few other tricks for nicknamed “Saint.”). The program included with asymmetric drill. Silent Night highlighted which they were known during the final half Waltzing Matilda and closed with Danny Boy. the Hessian Christmas at Trenton when of the show. Alice (a girl -- director Bill As good as 27th was in the late 1970s, they Washington crossed the Delaware. Howard’s daughter Bonnie), seven costumed also made a strong pre-DCI impact. In 1970, The concert number was Charles Ives’ dwarfs and Pinocchio all danced and frolicked and 1971, the horn line was strong and one of “Variations on America.” And again, they used and a large costumed rabbit ran around the the best executing units. Bobby Hoffman’s concept in a color pre push field carrying a clock. They also had some innovative marching for with the flag cruising down the middle of a The fans and judges liked this presentation that era and, from the mid-1970s into the giant Pete Emmons’ peace sign, while the corps more than the Cavaliers’ show and it was 1980s, they had one of the best color guards, rendered Battle Hymn out of concert. noticeable in the rankings. However, their some would say of all time. They initiated Although the music and visuals were quite tricks weren’t allowed at VFW Nationals. A many innovative moves such as lying on their literal in painting a picture of the theme, still ruling was issued by Tony Schlechta, the head backs while spinning rifles. the corps passed out leaflets and posters of the VFW drum corps committee, disallowing During the 1971 season, Blue Rock was explaining each step of their program. dancing, skipping, hopping, changing considered a very special drum corps. In this The show was on a par with the Madison costumes, etc. year the corps played American Salute both as Scouts’ and Cavaliers’ theme shows and just as So, in order to comply with the rules, the an opener and as a color presentation. During misunderstood at times (especially by the Scouts took tenth place when they could have Camptown Races, the guard galloped on percussion judges), but it finished higher, in finished higher with their more creative show. flagpoles with horseheads around a track seventh place, at VFW Nationals. The 1971 productions of Garfield, Cavaliers outlined by the horns and rifles. They lost the The Cavaliers and Madison Scouts came out and Madison constituted what became known 1971 National Dream show to the 27th Lancers with two of the most controversial shows of all as “total shows,” implying that the entire show due to a flag penalty. time, in which these two all-male corps decided was created to convey a single story or set of They created a company front on an angle, to experiment with costumes and props. related ideas, thus marking the beginning of a with one-half of the horn line in the end zone Until 1971, the Cavaliers had been one of trend toward a musical and visual theme show and the other half still on the field, then they the most conservative drum corps, with shows that allowed the production to be tied together did a center-man wheel to get the entire corps that were strict displays of musical and visual by a single idea or concept, rather than a over the finish line (with half of the horn line precision and lacking in frivolity. But this year program of totally unrelated musical selections. marching backwards). This was during their the Cavaliers decided to present a new image Other entertaining features of the year closer, Requiem for the Masses. and during the second half of their show, they included the Racine Scouts’ wedding ceremony, Sandra Opie’s 1971 and 1972 horn lines of abandoned their military style in favor of “the the Kilties Yellow Submarine production, the Argonne Rebels were considered to be the greatest show on earth.” complete with life rafts, and Blessed best in history -- “light years ahead of everyone Playing a brass book by Ray Baumgardt and Sacrament’s bald king in their “King and I” 118

rOyalaires, San Leandro, CA (1973). PurPle laNCers, Auburn, NY (1974). PreCisiONaires, Osage, IA (1975) Photo by Ruben Zapata from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World. Photo by Mark Boisclair from the collection of Drum Corps World. production. Fifty-one corps participated in the first DCI community, both the Madison Scouts and In 1971, the Meadowlarks’ color guard World Championship which was held at Cavaliers abandoned their progressive marched with Blessed Sacrament and this was Warhawk Stadium, University of Wisconsin, identities. The Cavaliers reacted the most Sac’s first year to have a girl guard. Whitewater. severely, returning to the field in 1972 with a The Hawthorne Muchachos performed an “I In 1972, there were still end zone entries show design that would have been thought Love a Parade” production that featured and exits, concert numbers, color presentations, conservative even in earlier years. snippets of music from Garfield Cadets’ Yankee high mark time, symmetrical drills, elevator The Madison corps presented a history of Doodle, Blue Rock’s Quiet Village, Blessed percussion drills (up and down the 50) and the American flag, complete with costumed Sacraments’ National Emblem March and the myriad changes in the visual component of guard members depicting various historical Hawthorne Caballeros’ Cherry Pink. corps. Color guard still meant guarding the eras. These two corps’ 1971 shows had opened It was unlikely that an activity founded on colors. the doors for new ideas and changing attitudes. marches, flag displays and popular tunes could The “Cinderella” corps, the Anaheim The Bayonne Bridgemen went the farthest have survived the social and political climate of Kingsmen (who had almost folded in May) did a in putting fun and entertainment on the drum the early 1970s. An artistic awakening was on takeoff on the 1971 far-out drills by saluting corps stage throughout the 1970s and into the the horizon. Mickey Mouse and introduced the corps’ curtsy. 1980s. The corps came to national attention But the evolution of the drum corps activity The Blue Stars played both the First Federal primarily through its incredible, exceptionally moving toward an art form was headed for March and South Rampart Street Parade, fan clean, triple-tonguing (acapella) soprano line in conflict with the military organizations. The favorites. 1972 and 1973 (as the St. Andrew’s VFW rules, especially in the cadence, inspection The incredible talent of Gail Royer was Bridgemen), playing such pieces as March and the GE captions, seemed to hinder evident this year, when he wrote the entire Triumphant, Mr. Clown (the chart with triple creativity. In addition, the corps were at the drum corps arrangement of the band piece, tonguing), “Summer of ’42” and the William mercy of anyone who chose to sponsor a Fanfare and Allegro, in one night for the Santa Tell Overture (1973). In 1972, there were 17 competition. Clara Vanguard. This was their third year of sopranos doing the triple tonguing and in 1973 In the fall of 1971, Drum Corps playing “Fiddler on the Roof.” The show was there were 21! International was formed, becoming the vehicle awesome in its vision and complexity for the Brass charts were by Larry Kerchner. The which would enable corps to control the time. horn line’s quality and a tremendous drum line development of their own activity. The The 27th Lancers played a program of that followed shortly, awaited only the right founding of DCI allowed drum corps to make English, Scotch and Irish tunes. From 1971 drill to make a move. and standardize their own rules, set up their through 1973, the Lancers had three marching The Bleu Raiders’ (Kenner, LA) twelfth-place own contests, tours and championships and be drum majors who portrayed Danny Boy, Sir finish in finals was only the eighteenth financially compensated for their efforts. Oliver Wedgely III and Wee Willie MacGregor. performance in that corps’ history and, to that Although many corps participated in that Wee Willie was portrayed by the person who date, was the quickest ascent ever to a DCI first DCI World Championship, most corps would become the most famous Lancer alum, finals position. (In 1985, the new Star of retained their affiliations with old organizations George Zingali. He wore authentic Scotch garb Indiana would take tenth place in their (CYO, AL, VFW) for a brief time, just in case and carried a mace. These three characters founding year.) DCI didn’t work out. added color by marching around the field, During the 1970s, there were several other Additionally, since the tick system was still The Argonne Rebels’ hummable version of corps that made the top-12 scene only once, in place, most corps did not attempt anything “Jesus Christ Superstar” was arranged by Doug including the Des Plaines Vanguard (1972), too new, too different or too difficult, for fear of Dennisen, and Sandra Opie’s horn line was the Belleville Black Knights and Stockton, CA, not winning because of too many ticks. first to get a perfect score in musical analysis. Commodores (1973), Auburn, NY, Purple 1972: The first year of DCI Troopers’ color guard introduced (but Lancers (1974) and Finleyville, PA, Royal The winning DCI musical program played by probably did not originate) the rifles-over-the- Crusaders (1975). This would happen again the Anaheim Kingsmen (the first DCI flags toss (used in 1972-1974). It became a only once in 1990 when Dutch Boy took twelfth champion): “Folk Song Suite,” “American trademark of sorts, as did their rifle exchange place. Salute” (When Johnny Comes Marching Home around the drum major. In 1972, a risk-taking Garfield Cadets and Battle Hymn); Mickey Mouse March, Ritual One of the best “total shows” came from further extended the boundaries with a “No Fire Dance, Sabre Dance, Sing, Sing, Sing and the Des Plaines Vanguard in 1972, when they More War” theme and a rather esoteric “Exodus” and “King of Kings.” performed selections from Holst’s “Planets” program (for that time) of concert band and Most played selection: music from “Jesus complete with a battle scene. During Mars, symphonic literature, which included Clifton Christ Superstar.” Bringer of War, the combat zone production Williams’ Sinfonians (a musical portrayal of Other selections played by multiple corps: had “bodies” strewn all over the field. This tension and conflict), a combination of Mars Battle Hymn, America, I’d Like to Teach the program, designed by Frank Pamper, was a and Jupiter from Holst’s “Planets,” which World to Sing, When Johnny Comes Marching great bit of theatrics. included a battle scene where the corps knelt Home. Due to lack of acceptance by the judging down and “died,” a dance number of Howard 119

lt. NOrmaN PriNCe, Melrose, MA (1964). rOyals, Cedar Falls, IA (1972). OlPH ridGemeN, Brooklyn, NY (1975). Photo by Malcolm Johnson from the collection of Drum Corps World. Photo by Paul Jensen from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World. Hanson’s Children’s Dance combined with symmetrical show with a steady show of outstanding soprano line and one of the best Greensleeves (3 against 2 meter) and themes precision, the Santa Clara Vanguard was groups of soprano soloists in their history, from Mahler’s “Fifth Symphony” combined with something of beauty, power and anticipation. winning a three-peat high horns trophy at DCI A Mighty Fortress is Our God which contained They seemed ahead of their time in playing Finals. the peace sign. A Young Person’s Guide to Drum Corps, with This is one of several years that Madison and The show was awesome in its complexity its complicated, multi-tempo drill and SCV combined to play You’ll Never Walk Alone and vision, but even with their charmed staff of multi-cadence segments. in exhibition. Don Angelica on horns, Fred Sanford on drums, Young Person’s Guide was their production The Kilties played McDuffy’s March, God Bobby Hoffman on drill and Pete Emmons on number, replacing the color pre. This was their Save the Queen, Roundabout, Eli’s Comin’, guard, they only managed a thirteenth-place fourth consecutive season of playing selections McCoy’s Exit and closed with their signature finish. from “Fiddler on the Roof,” the bottle dance, Auld Lang Syne. They used the cymbals in a This was the first year that Garfield had an which had started mid-season of 1972, was circled cluster played by a revolving circle of all-girl guard, the Guardsmen whistled “Bridge performed by the rifle line during their concert snares. Over the River Kwai” while trooping the stands and Little Bird was a post-concert number. The Anaheim Kingsmen’s program included and Madison presented a history of the The program was entertaining in a Holst’s “Suite for Band,” “English Folk Song American flag. sophisticated way and different from the more Suite,” Sabre Dance, Ritual Fire Dance, 1973 GE-centered shows of the Cavaliers, Madison Sing, Sing, Sing, “El Cid,” “King of Kings” and Winning musical program played by Santa Scouts and Bridgemen of the future. Anaheim’s version of the “Rockford File” was Clara Vanguard: Fanfare and Allegro, A Young Because of its complexity, the 1973 Santa seen. Person’s Guide to Drum Corps; Wedding Clara Vanguard show caused many rule changes More and more corps were becoming co-ed, Celebration, Bottle Dance and Chava Ballet the following fall. They also caused other corps -- the 27th Lancers added girls to their horn from “Fiddler on the Roof.” to reexamine and reinvent themselves. line and their guard lay flat and twirled their Most played selection: “Man of La Mancha.” The Troopers finished a distant second to rifles. This is the year they first played Other selections played by multiple corps: Santa Clara by a large margin of 2.5 points, Crown Imperial, followed by Declarations, “Fiddler on the Roof,” Battle Hymn, “Tommy,” playing Ghost Riders in the Sky, Eagle African Suite, Rawhide, Shenandoah, Classical MacArthur Park, the Theme from “Shaft,” Screams, Black Saddle, Wedding Dance from Gas, Impossible Dream, Mannin Veen and selections from “West Side Story” and When “Brigadoon,” Thanksgiving Hymn, Day by Day Danny Boy. Johnny Comes Marching Home. and Battle Hymn. The Muchachos played Espiritu Del Toro, The DCI World Championships returned to The corps came back on the field with Battle Malagueña, Hoedown, Concierto de Aranjuez, Whitewater for the second year. Drum corps Hymn as an “after the gun” color presentation. Matador, selections from “Man of La Mancha” was said to be the third largest form of live Their rifle toss over raised, horizontal flags was and Impossible Dream. entertainment, after baseball and football. very popular. The St. Andrew’s Bridgemen’s program was Marching bands were adopting more drum The First Federal Blue Stars offered a William Tell Overture, Unsquare Dance, Mister corps percussion and color guard styles, as well different and varied type of drum corps Clown, My Favorite Things, Free and “Summer as the more dynamic drum corps musical presentation, from their very popular version of of ’42,” which was a great closer. arrangements. There was a continued easing South Rampart Street Parade (1972 and 1973), The Belleville Black Knights had been a of rules and there were an increasing number in which their drum major performed a power from 1956 through 1962. In 1973, they of corps mergers. swinging strut/dance/march, to “El finished in tenth place, playing Crown Imperial, The format (not the time limits) of the Cid”/Conquest in the Henry Mancini big band Get It On, Russian Sailor’s Dance, “Man of La program was now being expanded to include style, to the Hugo Montenegro jazz version of Mancha” and Impossible Dream. into concert and out of concert, closer and the classical In the Hall of the Mountain King, The Argonne Rebels’ great claim to fame finale, the color presentation was being to their closer, the Doors’ Light My Fire. was a consistently excellent brass section. They replaced by a production number and the The Madison Scouts were still playing had one of their best lines in 1973, winning top re-entry was introduced in 1973. programs of multiple tunes, i.e., Ballet in Brass, horns in prelims with 23 female players out of The 1973 season was a magical year for Bajour, God Bless the Child, Brian’s Song, 60 horns, the first DCI finalist to march more Santa Clara Vanguard. They had won 24 out of Battle Hymn of the Republic, Marching than 20 female players in a horn section, 25 competitions, including the DCI Through Georgia, Camptown Races, Just Before playing Fanfare, Malaga and Stars and Stripes Championship Finals, despite being beaten in the Battle Mother, Jesus Loves the Little Forever. horn execution by the eighteenth-place Purple Children and closed with Dixie. This was the final year Sandra Opie led the Lancers. God Bless the Child (played in 1973, 1974 Great Bend corps’ brass program and her Santa Clara went undefeated in drums and and 1978) was the tune that helped to define hustand, Glenn, also retired at the conclusion their only corps defeat was to the Troopers, who the Madison Scouts’ image in the 1970s when it of the 1973 season. He was one of the original were undefeated in M&M. was introduced in the middle of the 1973 founders of Drum Corps International. They Coming off the line, performing a season. The 1973-1975 Madison Scouts had an had been the driving forces behind Argonne 120

GeNeral Butler vaGaBONds, Butler, PA (1972). valiaNt kNiGHts, Enid, OK (1978). wausau stOry, Wausau, WI (1977). Photo by Jan Byer from the collection of Drum Corps World. Photo by Jane Boulen from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World. since the mid-1950s. America, selections from “Fiddler on the Roof.” (1974, 1988 Phantom Regiment, 1998 Blue The accomplishments of this excellent Other memorable pieces: Baby Elephant Devils). junior corps were monumental considering Walk (Blue Rock), Yellow Rose of Texas Seventy-three corps entered DCI, which Great Bend was a town of less than 20,000 in (Troopers), Slaughter on 10th Avenue (Madison sponsored 48 shows. The 1973 DCI Rules the middle of Kansas and nearly all of their Scouts), Crown Imperial (27th Lancers and Congress had sanctioned the use of mallet members lived within a 20-mile radius. Black Knights), Pictures de España instruments in competition for the first time, The Commodores made a one-season visit (Muchachos), Eli’s Comin’ (Kilties), William thus a total of two keyboard instruments (e.g., to the top-12, playing Russian Sailor’s Dance, Tell Overture (Bridgemen), So Very Hard to Go marching xylophone and orchestra bells) were Navy Hymn, Sailor’s Hornpipe, Anchors (Anaheim Kingsmen), “Carmen” (Cavaliers), legal, but had to be carried at all times. Also Aweigh, Rainy Days and Mondays, Celebrate, Legend of a One-Eyed Sailor (Blue Devils), approved were mutes and the use of the full Popeye the Sailor Man and My Way. “Sunrise Suite” (Sunrisers), Alexander’s back sideline for entry and exit in 1974. And the senior New York Skyliners, who Ragtime Band (Yankee Rebels), Elk’s Parade Most corps took advantage of the freedoms nearly always played some music with a New (New York Skyliners), Bridge Over Troubled allowed by the new rules; almost every unit York theme, did their famous and much- Waters (Guelph Royalaires), MacArthur Park entered from the backside, almost none imitated (by marching bands) “traffic jam” in (Hawthorne Caballeros), “Firebird Suite” performed a color presentation (too many 1973 and 1974, and again in 1978 and 1979. (Reading Buccaneers), Stormy Weather points could be lost to violation of the Crown Imperial (Connecticut Hurricanes), “Jesus Christ American flag rules) and they were replacing it Over the years, Sir William Walton’s Crown Superstar” (Rochester Crusaders) and Ritual with a production number. Nearly all corps Imperial became one of the most powerful and Fire Dance (Rhode Island Matadors). ended their drill at the center of the field and favorite numbers to be played by drum corps. The 1974 season is considered one of the the fans complained about the lack of variety. First played in 1971 by the Scarborough most entertaining in drum corps history and an At 1974 DCI Finals, the drum corps field had Firefighters, it became most famous as the incredible year for music. The top-12 finalists no yard lines except for the 50. All of the opener for the 27th Lancers who played it as an had “awesome” books from top to bottom, percussion was marching on the field -- with no opener in 1973, 1975, 1976 and 1981 and as the including the Purple Lancers, De La Salle pit. The horns had a piston and a rotary valve. second number in 1974. Oaklands and Anaheim Kingsmen. Corps were Drill had become substantially more curvilinear It was played as an opener by the Belleville playing major works that would be repeated in design and, since the show designs were Black Knights in 1973 and 1975 and was also again in the future, either by that corps or more elaborate along with the flag work, often played by the 1976 Royal Coachmen, 1989 Star another corps. the American flag squad was relegated to a of Indiana and 1997 Carolina Crown, as well as Some of these were: Stravinsky’s “Firebird corner of the field for the duration of the show. by the Phoenix Regiment (Japan) in 1991, 1992, Suite” (1974 Kingsmen, 1978 Phantom This year was an unusual one for movement 1997, 1998 and by the North Star of Scotland in Regiment, 1976, 1988, 1997 Cavaliers), Liadov’s between prelims and finals, which is part of the 2001, as well as by the Long Island Sunrisers in Baba Yaga, recalling Mussorgsky’s Hut of Baba reason it is considered to be one of the most 1979 and 1980. Yaga from “Pictures at an Exhibition” (1974 De competitive years of the decade, with 1978 Nancy Scopa Vetrano, who marched 27th La Salle Oaklands, 1987 Santa Clara Vanguard), being the other. Lancers from 1976-1980 and with the 1994 Grieg’s In the Hall of the Mountain King from Everyone expected Madison to win in 1974, alumni corps, said that Crown Imperial was “Peer Gynt Suite” (1974 Blue Stars, 1979 but with a fabulous show and a “little smarts,” her favorite opener and favorite piece to march Phantom Regiment, 2000 Madison Scouts), SCV staved off a challenge by the prelims to. She wrote, “Adding the goose step was a Berlioz’s “Symphonie Fantastique” (1974 winner, the Madison Scouts. As James Elvord great idea.” Anaheim Kingsmen, 1985 Phantom Regiment), pointed out on the “Brass Roots” video, the As guard sergeant of 27th in 1980, Nancy Shostakovich’s Festive Overture (1974 Phantom 1974 SCV corps chose not to go on last as had the honor of guarding the American flag Regiment, 1985, 1986 SCV, 2001 Phantom defending champions because they did not in when they played the national anthem as the Regiment), Benjamin Britten’s A Young any way want to follow Madison. Thus they flame was put out at the Winter Olympics in Person’s Guide to Drum Corps/Orchestra “out-finessed” them and won. Lake Placid, NY. (1973-1974, 1981 SCV, 2001 Cadets), Overture The much desired “synergism” of the total 1974 to “Candide” (1974 SCV, 1985, 1990 Cadets, show concept was mastered by the Santa Clara Winning musical program played by Santa 1993, 2002 Blue Stars), Ballet in Brass (1962, design team who also were able to translate it Clara Vanguard: Die Gotterdammerung, A 1973, 1974, 1984, 2001 Madison), Artistry in to the field through their corps’ performance. Young Person’s Guide to the Orchestra, Rhythm (1974, 1976 Anaheim Kingsmen), In 1974, the winning Santa Clara Vanguard Overture to “Candide,” “A Little Night Music,” Slaughter on 10th Avenue (1974, 1975, 1982 highlighted incredible marching and drill Weekend in the Country and Send in the Madison Scouts), Channel One Suite (1974 maneuvers for that time, demanded by the Clowns. De La Salle Oaklands, 1976, 1977, 1986, 2002 multi-meters of their drum corps adaptation Most played selection: Battle Hymn of the Blue Devils), “Tommy” (1974 Cavaliers, 1990 of Young Person’s Guide to the Orchestra Republic. Blue Devils), Bernstein’s “Mass” (1974 Argonne (second year). Other selections played by multiple corps: Rebels, 1983, 1990 Cadets), “Romeo and Juliet” They were undefeated in drums for the 121

des PlaiNes vaNGuard, Des Plaines, IL (1972). rOyal Crusaders, Finleyville, PA (1975). rOyal GreNadiers, Bradley, IL (1982). Photo by Jane Boulen from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World. Photo from the collection of Drum Corps World. second year, with an incredible drum break in Mitch Markovich could play. Channel One Suite and Sheik of Araby. Young Person’s Guide, at a time when everyone Their marching was aggressive and The Cavaliers played March of the still carried everything on the field (no pit). progressive for the time. They introduced their Toreadors, “Victory at Sea,” “Tommy,” All for The fact that their percussion breaks made so mace walk in “Symphonie Fantastique.” The the Best from “Godspell,” Once Upon A Time, much sense in the context of the overall color guard also marched a very aggressive, Somewhere from “West Side Story” and musical program is credited to the talent and strict military style with exciting and innovative Somewhere Over the Rainbow. classical music training of Fred Sanford, who so equipment work. The rifle line stayed either in The Blue Devils and Phantom Regiment skillfully orchestrated them. And Pete a pyramid or just in a very tight formation both became DCI World Finalists for the first Emmons is considered to be the visual much of the time. time, with the Blue Devils climbing up to ninth trendsetter of the 1970s. The Muchachos were quite an entertaining place, after finishing twenty-fourth the They also introduced Send in the Clowns corps, solid in all areas, i.e., drum line, guard previous year, and Phantom finished eleventh. (an all-time favorite ballad) and, for the ending, and balanced brass. They played Pictures de In their first year in finals, the fast-rising they brought back the bottle dance, which had España, Hoe Down from “Rodeo,” Malagueña, Blue Devils played Chant and Jubilo, “Porgy been included in their winning performance at Marianne from “The Grand Tour,” Concierto de and Bess,” Legend of the One-Eyed Sailor, the 1973 DCI Championships. Aranjuez and It Was a Very Good Year. Chase the Clouds Away, Feel of a Vision, Touch From 1974 through 1982 or 1983, the SCV They are renowned for an outstanding of Venus and Lady Sings the Blues. The corps rifles, or the guard in later years, were always soprano line in 1974-1975, with intense and appeared with Buddy Rich at the opening of the parked behind the drums just before the final clean articulation throughout the show, led by Concord Pavilion. push; some years they came through and did all-time favorite soloist Jeff Kievet. When he The Purple Lancers of Auburn, NY, grew out the bottle dance, others they did not, but they played his solo, the crowd would go crazy. of the local VFW and was a collage of members were always there just in case they would decide The finals performance is legendary. Held at from local drum corps such as the Syracuse to put it in during finals week. Cornell University in Ithaca, NY, there was a Marauders and Squires from Watkins Glen, who Under the leadership of their brass huge and boisterous crowd of East Coast came together for a year or two and finished instructor, James Elvord (who would set the supporters in the back stands who were so loud tenth at DCI, but folded due to lack of funds standard for the sound of horn lines for the first that the corps could not hear the drum major’s after making finals for the first time. decade of DCI), the 1974 Madison Scouts took commands and actually started their show at They had a rifle performer who executed high brass in every contest that year and the least twice. solos throughout the entire show, throwing the first perfect score in DCI history was awarded to Sometimes the corps would have a tendency rifle as far as the eye could see, doing “8s” or the Scouts at the DCI World Championship to over blow with their exciting horn line, but even “10s” and always catching it. Their Finals when the horn line received a 10.0 in few seemed to mind. Most fans loved that musical program included: Fourth Movement General Effect. sound and the corps “cranked it up big time.” from “Divergents,” selections from “Suite of Old Their program included Ballet in Brass, In a classic show, the Troopers opened with American Dances,” Turkey in the Straw, La Bond Street, God Bless the Child -- featuring Ghost Riders in the Sky (a standard fan favorite Fiesta Mexicana, Power to the People and the powerhouse soprano soloist Chris Metzger who, in the past and in the future), giving the corps a popular If. according to Wayne Downey, “wailed his brains chance to show their skill in marching. The The Phantom Regiment made finals for the out” -- Slaughter on 10th Avenue and Brian’s show also contained the sunburst, two color first time, playing Shostakovich’s Festive Song. The opening and closing statements of presentations and closed with the ever-present Overture and “Fifth Symphony,” Poet and Ballet in Brass were “killers.” Battle Hymn. This would be this famous corps’ Peasant Overture, Mussorgsky’s Night on Bald The Anaheim Kingsmen, remained in the last year in the elite top-six. Mountain, which featured a perfect example of top-five and continued to be innovators in 1974, The Kilties had played Chattanooga Choo triple tonguing technique, “Romeo and Juliet,” with a repertoire that was one of the most Choo in 1968, 1969 and 1970 and brought it and Les Preludes. The guard used break-away difficult in drum corps, including Mambo from back in 1974. Other tunes included a fanfare flag poles. “West Side Story” arranged by Kit Squires for from “Brigadoon,” McDuffy’s March, Karn Evil The Blue Stars performed Tiger Rag, In the an off the line, a production of March to the Nine, Eli’s Comin’, McCoy’s Exit and Auld Lang Mood, “El Cid,” Conquest, Hall of the Mountain Scaffold and Witches Sabbath from Hector Syne, which they played for 16 years between King and Light My Fire. Berlioz’s “Symphonie Fantastique” and Stan 1960 and 1979 (most often as a closer) and There were some giant drops in position this Kenton’s Artistry in Rhythm as concert. would continue being played when the corps year. The 27th Lancers fell from a These were the days of finish line fanfares, came back as a senior unit in the 1990s. seventh-place finish in 1973 to twentieth place so their re-entry/exit number was a tune called At the World Open, the Kilties got some in 1974. The Belleville Black Knights had an So Very Hard to Go and the “Firebird” tag was unexpected, instant GE, when -- mid-show -- awesome book, played well, but did not make their finish line signature, “Fear the Firebird.” the sprinklers went off just as their rifles tossed finals due to a weaker drum line. Argonne The corps had 45 horns (all valve and rotor a double. The crowd went nuts. Rebels’ entire show was taken from Bernstein’s bugles), a “cool” drum line, with Don Porter The De La Salle Oaklands played Hut of “Mass,” but they slipped from eleventh to who, it is rumored, could play anything that Baba Yaga, Meadowlands, Great Gate of Kiev, thirty-third place and Blue Rock, like a number 122

saN JOse raiders, San Jose, CA (1982). wraNGlers, Phoenix, AZ (1977). Photo by Dale Eck from the collection of Drum Corps World. Photo by Nancy Engelbretson from the collection of Drum Corps World. of other corps, was priced out of the activity Scouts brought a new level of excitement to impact in 1975 (than 1973) because we didn’t due to costs of instructors and touring after drum corps and set a standard for performance, have to go over the end zone any more. It was 1974. not only of jazz music, but for music in general one of the most beautiful exits we ever played This was the first year that videotapes were and for entertainment in the activity. Madison’s and the sound of the backfield tympani only available and a television special titled shows made their audiences stand up and enhanced that beauty.” “Competitive Drum Corps” was made by “ROAR.” Continuing with Steve Vickers’ explanation: McCormick Enterprises. The one-hour film Madison fielded 68 horns in this undefeated “No other corps has moved up as fast as the featured the Santa Clara Vanguard and included season, which was part of a 32-contest winning five-year-old Blue Devils. Although their staff the Troopers, Blue Stars and Anaheim streak, lasting from August, 1974 to May, 1976; consists largely of former Santa Clara Vanguard Kingsmen. and in July, the Kilts ended a Madison string of personnel, the Blue Devils have created a It was narrated by jazz great Stan Kenton 46 horn caption victories. (‘flowing drill’) style and (‘jazzy’) theme all who said, “I like drum and bugle corps, for it is Jim Elvord, who aged out of the Scouts in their own. Blue Devils’ forté is the jazz idiom a place that special talent can develop . . . it is a 1970 and began as horn instructor in 1971, and no other brass section in the country plays unique form of musical education, offering as brought the Madison horn line to heights not Buddy Rich and Chuck Mangione charts like much or more in the development of the total heard from a corps prior to this. Again this them.” person as studies in English, history and the year, they had a great music book, executed in Their 1975 program included: Space rest . . .” (Quote was taken from Jodeen Popp’s “blow you away” fashion. Dave Tippett was the Shuttle, Loves Been Gone So Long, What is Competitive Drum Corps, p. 97.) co-screamer with Chris Metzger in MacArthur Hip, Squibb Cakes and two Chuck Mangione 1975 Park. The Dueling Banjos drum solo was even tunes, Legend of the One-Eyed Sailor and Winning musical program played by the more impressive because it was on the move. Chase the Clouds Away. In this year, the Blue Madison Scouts: Slaughter on 10th Avenue, Chris Metzger Devils ended Santa Clara’s 56 consecutive drum MacArthur Park, Rhapsody in Blue, drum solo Chris marched in the Scouts from 1971 to caption victories and they introduced their of Dueling Banjos and The Way We Were. 1977, after being in their feeder corps. He was trademark gate turns which they continued to Most played selection: Battle Hymn of the the Scouts’ featured soprano soloist from 1972 use through 1984. Republic. to 1977; in God Bless the Child (1973-1974), The Blue Devils were one of many corps Other selections played by multiple corps: Brian’s Song (1973-1974) and MacArthur Park having successful competition color guards, The Way We Were, “West Side Story,” Brian’s and The Way We Were (1975-1976). taking third at the DCI guard contest in 1975 Song, “How the West Was Won,” Shenandoah. He was known as a “pressure performer,” and gathering many honors and titles with the In his annual article in the June issue of the who always played best at finals. Metzger also winter guard on a local level. They introduced Instrumentalist magazine, Drum Corps World was the Scouts’ horn arranger for Numero Uno the concept of versatility within the guard Editor/Publisher Steve Vickers (comments in (1981) and Strawberry Soup (1982-1983). The where each member was totally capable of quotes) presented the following look at the opening statement of Numero Uno was a performing with either flag or rifle. This leading corps of 1975: Metzger original along with Scouts’ drum practice has been used since 1975 and was “The 1975 drum corps season was one of the writer Chris Theo and reinforced by Todd introduced along with the exchange of most innovative, imaginative and exciting in Ryan’s drill moves. equipment on the field in 1976. the history of the fast growing, youth-oriented In 1975, Santa Clara almost repeated its “The 27th Lancers have developed a British movement. The corps used a broad range of 1974 triumph, but came in second, playing theme in music and uniforms which has proven musical selections, a creative approach to drill Entrance of the Emperor and His Court from to be popular year after year. One of the all- design and exhibited stability at all levels of the “Harry Janos Suite,” Dance of the Buffoons, time crowd favorites, they are known for competition. with fun cymbal tricks and, after a one-year trend-setting drills and guard work, as well as a “During their 37-year history, the Madison hiatus, they brought back a medley of tunes technically superb percussion section.” Scouts have brought the drum corps world from “Fiddler on the Roof,” closing with one of After falling out of finals in 1974, the fresh, unique and highly entertaining the classic musical and visual endings of all Lancers came back with a vengeance (to take performances. Their use of classical music and time, the bottle dance. fourth place) and some new features, which Broadway show tunes, beginning in the early When the 10 girls interlocked arms and included the debut of their famous double flags 1960s, marked a rapid change from their dropped to their knees to begin the slow, that helped them earn the best guard award original activity as a traditional military march forward motion, the crowd erupted. that year. Their musical program included and bugle call-type corps. In 1971 they The soprano line did a Cossack dance and Crown Imperial March, Chameleon, Celebrate, introduced a pioneering ‘total show concept’ by Santa Clara attained a perfect 30 score in GE. Spectrum Nova and Danny Boy. In 1975 and producing an entire show around a “Scouts in They had an outstanding drum line with the 1976, they had a rifle feature they called the Fantasyland” theme.” timpani marching backfield to Chava Ballet. “jack in the box.” The Madison Scouts won with a score of Said alum Maggie Kelley: “In 1975, we In 1975, Ralph Pace experimented with 92.50, based on the strength of their horn line. formed the Star of David and ended the show asymmetry with the Lancers, starting in the The 1975 championship show of the Madison midfield. I feel Chava had a more powerful back corner and edging up the right side of the 123

rOyal laNCers, Cape Coral, Fl (approx. 1973). railmeN, Omaha, NE (1987). rOCky mOuNtaiN maGiC, Denver, CO (1985). Photo from the collection of Drum Corps World. Photo by Orlin Wagner from the collection of Drum Corps World. Photo by Donald Mathis from the collection of Drum Corps World. field with the Danny Boy wheel. Their 1975 program contained a great Fiesta, Carnival, Ritual and Concierto de The Lancers appeared on the Mike Douglas arrangement of Russian Christmas Music, Time Aranjuez. The percussion book was by Dennis Show along with musician/comedian Victor Odyssey 7534, Love in Them Thar Hills, DeLucia and Jeff Kievet was the soprano soloist. Borge, who appeared in their drum major’s Entrance to Reality, Once Upon a Time, The choice of music was an essential part of uniform and took part in their performance. Somewhere from “West Side Story” and the the power corps. Charts had to be recognizable “The First Federal Blue Stars of LaCrosse, corps’ signature, Somewhere Over the Rainbow, and allow the players to create walls of sound WI, perform one of the most difficult earning them an eighth-place finish, with an that could set the crowds vibrating. The percussion shows in competition, along with a awesome drum line. emotion the Muchachos could pull from the flare for the unusual in selection of music.” “The red, white and blue Royal Crusaders crowd was at a level equal to or greater than Their program included Canzona, a Chicago entertained with Coronation of Boris Gudonov, that of the Scouts. medley, “Ballad of Billy the Kid” and closed Hallelujah Chorus, Amazing Grace and a The exciting Spanish show kept the with Soulero. Throughout the 1970s, the Blue medley of Chicago tunes.” audience on their feet and their hands sore Stars occasionally incorporated snippets of the The Royal Crusaders existed from 1972 from clapping. The drum line was so good that 1972/1973 arrangements of Holst’s “Suite for through 1980 and were a one-year finalist in one drum judge congratulated the drummers Military Band,” aka First Federal March, into 1975, finishing ninth. Since 1972, the Royal prior to the corps leaving the field at CYO. some of the music, for example at the end of Crusaders had programmed some religious The Muchachos had beaten every corps in the opener in the 1975 show. numbers in their programs and in, 1974, they 1975 with the exception of the Madison Scouts, “The Oakland Crusaders of Toronto carried a huge cross in their religious theme but the corps was disqualified at DCI for (formerly the De La Salle Oaklands) entertained show. marching an over-aged member, as were the with music from ‘Swan Lake,’ Jupiter from ‘The “Phantom Regiment’s classical music Crossmen in 1976 and the Bridgemen in 1977. Planets,’ Malaga and El Gato Triste.” brought this corps into the top ranks. The Jeff Kievet Oakland had its famous X formation in the highlight of 1975 was their ‘American in Paris’ Jeff was a nearly-lifelong member of the drum break to El Gato Triste in 1975-1977 production, complete with traffic cop.” Hawthorne Muchachos, starting at the age of (carried over from De La Salle’s drum solo of Other Regiment music of 1975 included: seven (1959) and performing until his age-out 1973 and 1974). Then in 1978 and 1979, American Overture, Hungarian Dance No. 5, year in 1975, soloing on such pieces as Pictures Spanish Dreams was arranged with the same “Barber of Seville” and the beautiful Pilgrim’s of Spain and Carnival and winning the DCI structure to accommodate the drum break and Chorus from “Tannhauser.” Phantom also soprano individual title in 1975 playing a valve- the X. It was a fixture for five years. introduced their kneeling flag line tucked rotor G-F bugle. The screaming during the drum break came under an advancing horn front and the guard After leaving drum corps, he went on to an from the drum line. The corps also played executed the “Rockford File” during the big impressive professional career as a trumpeter, Santa Clara’s arrangement of Send in the push in “An American in Paris,” including several CDs, and many Broadway Clowns as a warm-up piece for the horns every The Garfield Cadets, a first-time DCI finalist musicals. He is writing the musical book for year. They also had a two-bar decrescendo- in 1975, finishing eleventh, performed In the the Hawthorne Caballeros’ 2002 show, which is crescendo three-stroke roll in every drum solo. Hall of the Mountain King, Fanfare for the the music of the 1975 Muchachos. “The ‘Mad Plaid’ Kilts were ever-emotional Common Man, A Lincoln Portrait, a 1940s “The Saints from Woodbridge-Edison, NJ with their musical program: Third Hurrah, dance medley of Avenue C and In the Mood, (1972-1977), developed a style all its own with ‘Carmina Burana,’ Roll Over Beethoven, Don’t something called “Garfield’s Ragtime Band” charts from the big band era, especially those of You Worry ’bout a Thing and closing with the which was a medley of Tiger Rag, Alabama the great Duke Ellington, played by an all-girl, corps’ classic version of Auld Lang Syne.” Jubilee and Alexander’s Ragtime Band and 16-horn mellophone section in 1975.” In the mid-1970s, the Kilties had What Are You Doing the Rest of Your Life? This was unusual for the time because in outstanding guards, instructed by Ken Morrell, Garfield was featured in the New York many corps all horn players and drummers who was a former Kiltie drum major in the Tourist and Convention Bureau’s film were male, while girls were allowed only in the early 1970s. Prior to that he was in their guard. production, “The New York Experience.” color guard. A SCV member said, “It was hard Older drum corps fans may remember him as This would be the Troopers’ last year in to break with ‘tradition’ and it was early to the American flag bearer in 1969. finals until 1979. They played Introduction and mid-1980s (actually 1984) before females were Also from Vickers’ article: “The Cavaliers Fantasia, Night on Bald Mountain, The finally allowed in the horn or drum line (mainly are the most consistently winning corps in Virginian, No Good-byes and Bound for the the pit).” history. Their 27-year history also includes Promised Land. In 1975, the scoring system was still based many innovations -- they were the first corps to The power era of drum corps reached its mostly on the objective tick system, in which use double tenors and ‘flapjack’ tympani, height with the Hawthorne Muchachos of 1975 the marching, percussion and horn execution developed by their drum instructor, Larry and their predominantly Spanish repertoire, field judges, two in each caption, looked and McCormick. The Cavies always excite audiences which included: Pictures de España (an original listened for performance errors which were with their acrobatic guard work, precision and off-the-line by Larry Kerchner), The Appian noted on the scoring sheets. overall performance energy.” Way from “The Pines of Rome,” a “cooking” La One-tenth point deductions were made per 124

PatriOts Praise, Riverside, CA (2000). valley GreNadiers, Hillside, NJ (1975). PaGes, Wausau, WI (1977). Photo by Francesca Colombini from the collection of Drum Corps World. Photo by Jane Boulen from the collection of Drum Corps World. Photo by Dennis Nichols from the collection of Drum Corps World. mistake, within a range of allowable deductions Blue Devils: Channel One Suite, Legend of the the Clouds Away, Land of Make Believe, and per unit of time. One-Eyed Sailor and Chase the Clouds Away. many in the same year, e.g. Blue Stars and Only the three general effect captions were Note the move from a multiple selection Freelancers playing Bellavia. scored in a subjective build-up manner. repertoire down to only three pieces. Other corps duplicating selections this year Because of this difference, the scores were Most played selection: Yankee Doodle and were Madison and Bridgemen playing Stars and about five points lower than those of 25 years Stars and Stripes Forever/Battle Hymn (tied). Stripes Forever, Phantom Regiment and Seneca later. Also, the placements would change much Other selections played by multiple corps: Optimists playing Mahler’s “Seventh more from show to show during this era. I Write the Songs, America, Hill Where the Symphony” and Santa Clara and Guardsmen The area of field percussion was in the midst Lord Hides. performing “Appalachian Spring.” of undergoing an exciting and tremendous The 1976 season was the Bicentennial At the fall DCI Rules Congress, the use of surge of growth and development. The celebration, particularly important for drum two-valve bugles had been approved. Two-valve expanded percussion sections -- with many new corps organizations, many of which grew out of bugles were first used by Velvet Knights in instruments and the increased popularity of their involvement with veteran groups. It was a 1976. However, in this year the DCI Rules percussion solos and features in the field show patriotic and pageantry-oriented year. Many Congress went on record to state “permanent” -- were adding a whole new dimension to the corps played patriotic songs, carried the opposition to adding another (third) valve to concept of musical pageantry. Bicentennial flag and the Blue Stars had bugles. (In 2000, some corps in the Mallet instruments had found their place in Bicentennial logos on their timpani. activity would be using not only three-valve the marching percussion section. The addition Some corps used the old starting line and a horns, but three-valve B-flat and multi-key of piccolo xylophones and orchestra bells (both few used a color presentation. It was also a year horns.) Approximately 8,000 bugles were being carried horizontally) made it possible for the that tremendous variety was being expressed by purchased annually. entire drum line to function as a self-contained the individual corps -- musically, visually and in In 1976, the popular “power corps” style was musical entity, providing melody, harmony and costuming. replaced by the more subtle, sophisticated, rhythm. Drum corps in 1976 featured a variety of jazz-flavored California style of the Blue Devils. The Osage Precisionnaires had one of the musical selections, many of them associated This was the Blue Devils’ first largest drum lines in 1975, with eight snares, with well-known groups and artists like championship, having been a drum and bell four tenor toms, four bass, nine cymbals, two Chicago, Tower of Power, Stan Kenton (God corps only four years earlier. They were mallets and four tympani, all marching. They Save the Queen, Celebration, Artistry in undefeated throughout the season and, by played Spain by Chick Corea as drum solo with Rhythm, Eager Beaver, America, Fanfare; winning the DCI Championship, would follow the snares “rolling through the melody line.” Maynard Ferguson (MacArthur Park), Chuck the 1975 Madison Scouts as undefeated Hand claps and polyrhythms abounded. They Mangione (Land of Make Believe, Bellavia, champs. also made an early use of flash bulbs which Legend of the One-Eyed Sailor, Hill Where the They scored a record-high 92.70, with a usually helped them win drum GE at night Lord Hides); Buddy Rich (Channel One Suite, perfect 10 in the musical analysis caption. They shows. Nutville); Barbara Streisand (It’s Gonna’ Be a became the youngest corps, in only its sixth What they did was unheard of in the drum Great Day, Let’s Hear it for Me); and Barry season of competition, to win the DCI World corps world at the time. Their first score of the Manilow (I Write the Songs). Corps also per- Championship and the first corps to win all the season was 46 points. The corps improved formed big band sounds from Duke Ellington captions. through the season, scoring 75 points at DCI and Glen Miller. Many think of the 1976 Blue Devils’ show as Prelims, just missing the night show by less Movie themes and show tunes came from a “musical masterpiece.” The corps set a than a point. For many years they held the “Godspell,” “1776,” “Jaws,” “Rollerball,” standard for how immaculate (clean) a corps record of most improved score in one season. “Stagecoach,” “Victory at Sea” and “Porgy and should be and people began talking about the Beginning in 1975, the DCI Championships Bess.” new sophistication of drum corps shows. were carried live, coast to coast, on PBS Shows also featured themes from such Their opener, Channel One Suite, proved to television. This brought national attention to classical compositions as Handel’s “Messiah” be a perfect vehicle. At seven minutes in the drum and bugle corps activity, signaling an (Hallelujah Chorus), Grieg’s Hall of the length, it was the longest single musical interest for members from different parts of the Mountain King, Tchaikovsky’s Capriccio selection played by a corps to date. The 1976 country to march in the corps of their choice, Espagnol, Dvorak’s “New World Symphony” and version used contras with valve-rotors doing rather than just their local corps, thus “Slavonic Dances,” Wagner’s “Tannhauser,” high mark time. providing the top corps with a potentially de Falla’s Ritual Fire Dance, Stravinsky’s They would play it again in 1977 for another greater pool of talent, but also sometimes “Firebird,” Gershwin’s “An American in Paris,” winning performance and then again 10 years taking key players away from smaller corps. Holst’s “Planets” and Copland’s A Lincoln later in 1986 to celebrate the tenth anniversary The drum corps activity had now grown Portrait and Fanfare for the Common Man. of the win and also to win another DCI title beyond the wildest dreams of the founders. From 1976 through the early 1980s, nearly (and would program it again in 2002). 1976 everyone was playing just about every Chuck Drum corps’ newest star had a great horn Winning musical program played by the Mangione tune, e.g., Echano, Legend, Chase line and a good jazz book of music by Buddy 125

reilly raiders alumNi, Philadelphia, PA (1998). yaNkee reBels, Baltimore, MD (1971). Photo by Harry Heidelmark from the collection of Drum Corps World. Photo by Moe Knox from the collection of Drum Corps World. Rich and Chuck Mangione. Bonnie Ott, sister top-three finish by playing “Hary Janos Suite,” formations were clear and full of surprises. of brass arranger Jim Ott, was the featured “Appalachian Spring,” Black Orchid and Send They came off the left starting line, with mellophone soloist in Chase the Clouds Away. in the Clowns. The highlight of the drill took abstract flags depicting the Bayonne Bridge and The Devils matched their great horn line place during the drum solo when flags and a dynamic color presentation including 1776- with a great drum line. They marched with 10 drums formed a revolving circle that also 1976 written on the inside of their open jackets. snares, introduced the North tenor drums moved forward. The usually symphonic Santa This was the year the Bridgemen replaced which had the bells pointing forward, wore Clara shocked the audience with a rock their traditional cadet uniforms with the white ruffled shirts, carried silver lamé flags concert number. “pimp-inspired” garb -- the long yellow coats and their cymbal players bent over backwards. Phantom Regiment continued in their own and big floppy hats for which they would During this time the Blue Devils had been classical style, playing Finale from Mahler’s become famous. These were debuted at their exemplary for the sheer excellence of their “Seventh Symphony,” Tchaikovsky’s “Sixth own show in June, 1976, with great fanfare and musical arrangements and performance. Their Symphony,” Bach’s Toccata and Fugue in D showmanship, including the drum major brass arranger, Jim Ott, would achieve even minor, Gershwin’s “An American in Paris” with arriving at the field in a white stretch limo. greater fame in the future with Spirit of one of the best all-time company fronts and During their performance of One, they Atlanta. Pilgrim’s Chorus from “Tannhauser,” with a flag created a dressing room on the 50 with flags, as However, throughout its entire history, presentation. They featured a liberty bell in the rest of the color guard changed into red much of the credit for the success and their drill. leotards to perform a kick line. excellence of the Blue Devils is to be credited to The 27th Lancers had a daring and exciting The classic move was at 1976 DCI Finals Wayne Downey, one of the most successful show including Crown Imperial and Jubilation. when the entire corps fainted at the end of the arrangers in drum corps history, who is still They entered from the left and had little flags show. The idea came from senior corps, where putting out excellence as this chapter is being on their horns. The drill included a high step it was not uncommon to see one or two people completed in 2002. off the line and a quickly appearing “27” which pass out at the end of a show. The Bridgemen In the video “Brass Roots,” Wayne Downey disappeared just as quickly. added their own flair, which brought the said that one of the high points of his drum The guard took top honors again in 1976, as longest standing ovation of the night -- about corps career was being able to work with such they would continue to do in 1977, 1979 and 10 minutes -- one of the longest ever in drum artists as Stan Kenton, Chick Corea, Buddy 1980 and tying SCV in 1978. In honor of the corps and not bad for a sixth-place finish! Rich and Chuck Mangione, all of whose music patriotic year, 27th had at least two features of The Bridgemen had shattered the military would be played often by his corps. In 1976, the eight-foot American flag, one during Crown mold and the drum corps world was turned the Blue Devils played in-person with both Rich Imperial with the flag in between a circle of upside down by this new and radical style. and Mangione. rifles and one at the end of Fanfare Prelude They also introduced the low-leg lift, The Blue Devils were the final step in inside of the corps -- the whole corps turned criticized at the time, but adopted by nealy completing an evolution of lineage, as players and saluted/pointed horns at the flag; and a everyone else later; used dance as a major who became their leading designers and guard presentation featured a jack-in-the-box feature in their shows; and created the “groove” instructors had moved from Troopers to Santa drum major to the final strains of their drum line, which caught on in a big way. Thus, Clara and then to the Blue Devils. The trademark closer, Danny Boy. the Bridgemen joined Santa Clara as a leader in excellence in all captions continued, but the The “new” Bayonne Bridgemen’s 1976 the percussion field. style of each corps was very different, which was off-the-wall show was one of the most The Cavaliers were strong in marching, with a credit to the creative genius of the people entertaining in DCI history and, with it, the a musical show that included Russian Sailor’s involved. corps launched their career as the original Dance, selections from “Porgy and Bess” and Having gone undefeated in 1975, the fun-loving buffoons of the activity. They “Firebird Suite.” This is the year they changed Madison Scouts struggled during the first part brought to drum corps a level of entertainment to the traditional Cavalier uniforms with capes of the season and then did something drastic. unlike any other corps, largely due to the and feather hats and their green feather flags During a mid-season break, they scrapped their approach of their visual designer, Bobby looked round at night shows. entire show and created a new musical and Hoffman, whose philosophy can be summed up They filled the stands with fans holding visual program which was similar to 1975. In with, “You’ve got 13 minutes to do whatever glowing green lights. They also used mutes. spite of this, they still took second place. you like.” The field show was designed by Steve Buglino. They opened with Stars and Stripes Forever, It consisted of a classic starting line The Oakland Crusaders had a strong drum then “set their horn line free” as they played opener, a blazing jazz version of the William line and their music included “Swan Lake,” MacArthur Park and The Way We Were. The Tell Overture, Chuck Mangione’s Land of Make Sing, Sing, Sing, Malaga and El Gato Triste. show included a full color presentation with an Believe, a visually-stirring Stars and Stripes The Blue Stars marched a smooth show and Iwo Jima ending, they marched a flying wedge Forever (in honor of the Bicentennial) and made it look easy. Repertoire included Echano in Rhapsody in Blue and had an incredible What I Did For Love and One from “A Chorus from “Children of Sanchez,” Malagueña, mallet player. Line.” Bellavia and Soulero. Santa Clara Vanguard continued with a The horn line was strong and the marching The Seneca Optimists presented a wonderful 126

st. FraNCis saNCiaNs, South Weymouth, MA (1974). maGiC kiNGdOm COrPs, Anaheim, CA/Disneyland (1995). statesmeN, Springfield, IL (approx. 1979). Photo by Moe Knox from the collection of Drum Corps World. Photo from the collection of Drum Corps World. Photo by Dick Deihl from collection of Drum Corps World. arrangement of Bizet’s Farandole and the Muchachos, The Way We Were by the Scouts, The music of several currently popular Capital Freelancers had a nice arrangement of If by the Purple Lancers and, although I was a motion pictures was featured, including the I Got Rhythm. horn player, I ran over and proudly played Academy Award favorite Gonna’ Fly Now from In 1976, the Schaumburg, IL, Guardsmen timps at the sidelines for our park-and-blow “Rocky,” plus Evergreen and other musical made their first finals appearance, finishing in number, Send in the Clowns by the Vanguard. excerpts from “A Star is Born.” twelfth place. In 1975, they had finished That was 1976 B.P. (before pit). Musical shows represented included: “A thirty-first in open class prelims and in 1976 “The guard did the bottle dance, too. We Chorus Line,” “The Wiz,” “West Side Story,” they tied with the Freelancers for tenth in looked and sounded like a corps, but for the fact “Jesus Christ Superstar” and “Purlie.” prelims and finished twelfth in finals, a that we had three-valves, were not in the key of Old pop favorites such as By the Time I Get remarkable move of 19 positions in just one G and had over-21 (aged) grad students in our to Phoenix appeared among new hits -- Theme year. ranks. We would have LOVED to have from “Star Trek,” Jonathan Livingston Seagull, Interestingly, the corps was the last one on competed just as Spirit of JSU does today Mister Jazz Man and Don’t Let the Sun Go in the Saturday afternoon preliminary (2001). We were only 130 strong and yet we Down on Me. competition in Philadelphia. They had to turn blew opposing bands twice as large as us off the Jazz tunes included such swing era favorites around and compete in finals only a few hours field! We worked hard. (And yes, we partied! as Harlem Nocturne and Sing, Sing, Sing, in later. That was the last year prelims were held Music majors tend to do this, but remember, addition to the modern Primal Scream and the on the same day as finals. music majors are who instruct corps!) Mangione numbers Echano and Sunshowers. They performed Moorside March, Train “Corps have influenced band style quite a bit Twentieth Century classical selections Collision March, Baubles, Bangles and Beads, and I won’t deny that, but I have seen some started to appear in 1977, including Copland’s A Final Analysis and Chorale and Shaker Dance. influence of the dance-style bands like Lincoln Portrait, the Gershwin “Preludes,” They had a guard pass-through on the 50. Grambling and Southern University (both from Stravinsky’s “Rite of Spring,” “Henry V” and The back half of it was just pikes and horns. On Louisiana) in corps as well. I think it is time Façade by Sir William Walton and Bernstein’s the front side of the center X were pikes and for both sides to face the fact we have the same “Mass.” Traditional classical favorites still had a rifles. The rifles tossed a triple while the pikes thing in common -- a love of music and a prominent place as well. did a fast angle drop with a spin. chance to touch audience’s hearts with that In addition, there was an original new They became known outside of drum corps music.” composition by Vaclav Nehlybel called Argonne circles by doing a TV commercial for Kentucky 1977 Fanfare which he composed for the Argonne Fried Chicken in 1976 with Col. Sanders. Winning musical program played by the Rebels. Frank Dorritie has cited the Wayne Blue Devils: Channel One Suite, Spanish The Blue Devils defended their title, being Monarchs as one of the most interesting and Fantasy and Gonna’ Fly Now from “Rocky.” just 0.1 from a perfect 30.0 GE score, in spite of progressive corps of the period. From 1976 to Most played selection: “Rocky,” (by Blue the fact that 70% of the members caught the 1978, they played Berlioz’s March to the Devils and 27th Lancers). flu prior to finals. The corps lost only one show Scaffold as an opener, a Nelhybel concert march Other selections played by multiple corps: all season -- DCI West prelims to the Santa called High Plains, a long percussion feature “A Chorus Line,” Evergreen, “African Clara Vanguard. They also had an undefeated using Debussy’s Golliwog’s Cakewalk, as well as Symphony,” “Celebration Suite,” I Write the horn line whose 34-contest winning streak selections from “The Wiz” with Matt Krempasky Songs, “Porgy and Bess,” “West Side Story.” extended from June, 1976, through June, 1978. (he later became the arranger for the “Pagliacci” was played by three corps -- The Phantom Regiment became the Crossmen) as soloist on If You Believe. Phantom Regiment, Bridgemen and Kilties. dominant Midwest power and nearly knocked The enthusiasm for drum corps was growing In 1977, the activity was switching from the off the Devils in prelims. They had finished in high school and college marching bands. valve/rotor bugle to the two-valve instrument, tenth in 1975, fourth in 1976, and 1977 was Bill Trusty was a member of the 1976 having been approved by the DCI Rules their first year of three consecutive second Northwestern State University of Louisiana Congress in 1976. Many major corps went to places -- according to some fans, three of their Marching Band. Writing on the Sound Machine the two-valve sopranos first. However, the best drum corps programs ever. Discussion Group, he described his band Santa Clara Vanguard was still using Olds Phantom had an emotional show -- dark and experience as follows: “When I was a music valve-rotors in 1979 and these horns were still heavy -- mixing classical and jazz. They turned major at Northwestern State University of being seen in corps at 1980 finals. an opera song into a “dark, scary swing” and Louisiana, my band director went full bore. The new instruments enabled arrangers to closed with a very patriotic moment. Their “We might as well have called him a corps attempt more ambitious brass writing. And, as program included Dvorak’s “New World director. No woodwinds, all bell-front brass, the bugle improved, the corps could play more Symphony,” a jazzy Tchaikovsky‘s “Piano marching trombones (no slides) and difficult music. Concerto No. 1,” Maynard Ferguson’s euphoniums. Over the shoulder BB-flat tubas This season’s musical fare ran the gamut of arrangement of “Pagliacci” with a rock beat and that looked like contras, marching French the music world -- classical, jazz, Broadway, a squealing soprano, a percussion feature of horns and mellophones, rifles and flags. Hollywood, country-western, rock and Flight of the Bumblebee and the closer was Ode “We played Pictures de España by the everything in between. to Joy from Beethoven’s “Ninth Symphony” 127

Quiet stOrm, St. Louis, MO (1998). mark twaiN Cadets, Elmira Heights, NY (approx. 1973). steel City amBassadOrs, Pittsburgh, PA (1985). Photo by Ron Walloch from the collection of Drum Corps World. Photo by Alan Winslow from the collection of Drum Corps World. Photo by Ron DaSilva from the collection of Drum Corps World. (during which they “sprang” their Beethoven The Madison Scouts once again showed off appeared in concert with Maynard Ferguson. flags). the power of their mighty horn line. This was Sound Machine contributor Jim Anello Often, when a corps had a successful the last year for soprano soloist Chris Metzger. recalled a 1977 Boston performance as one of program, some of the selections from that Their music included New York, New York, with the best by a non-finalist in DCI history. He program would show up again in the future for a memorable French horn lick, and highlights wrote: “Boston went on the first day of that corps or even for another corps. For from “West Side Story.” They created prelims with the non-DCI members and they example, in 1989, the Regiment would again excitement when the rifle line marched forward were clearly the best of the lot. Shostakovich lose first place by only 0.4 of a point with the on their knees during Officer Krupke. #5 into Le Prophet, My Spanish Heart for “New World Symphony.” And they would again The Blue Stars’ program included “Jewish concert, then great memories as Boston went perform the rock version of “Pagliacci” in their Trilogy” and If You Believe. The horn line into Hava Nagila. The crowd was on their feet. opera program of 1991. danced a traditional Jewish dance while in a “Another drum solo as the horn line goes Finishing once again in third place, Santa company front and also formed a Star of David, into a tight form in the northeast corner of the Clara Vanguard performed Overture to a New while they grounded their flags and rifles. field. The opening fanfare for Conquest and the Era and Make Our Garden Grow from After the 1977 season, two of the pieces in crowd is going crazy again. Extremely hard to “Candide.” “Appalachian Spring” was a perfect “Jewish Trilogy” became the corps song and hear the corps for the crowd noise, which is showcase for this corps with the memorable, corps fanfare, which they still play into the something when you consider that Conquest is full-corps movement toward backfield to a quiet 21st Century. a loud tune. ending. The guard used their first hoops The Cavaliers, having finished in seventh “Was it rough around the edges? Yes? Was this year. place for the second consecutive year, had a it exciting? Absolutely. Maybe the most Just as Garfield took risks even in the 1960s, strong horn line and their musical program memorable performance by a non-finalist in the Bridgemen were quite a risky corps in the included a “Man of La Mancha” medley and DCI history for me.” mid- to late-1970s. They would have placed “Porgy and Bess.” The marching program Spirit of Atlanta was particularly innovative fourth this year, but were disqualified for included a very effective wrap-around block and in the percussion area. They introduced having an overage member. Their program an oblong shape changing into a diamond, a seven-cluster drums and devised a xylo-vibe included their famous drum solo, Chiquita preview of the 1980s and 1990s when they that had a xylophone on one side and vibes on Banana/Yes, We Have No Bananas, “Pagliacci” would be noted for their geometric drills. the other, turned by a spring, and the Boston (with the drum major dressed as a clown), Land The Freelancers played “Adventures in Crusaders introduced the iso-drum, i.e., a snare of Make Believe, “Big Apple Salute,” Harlem Time,” the Seneca Optimists did selections from in the center with toms on either side. Nocturne, What I Did for Love, One and the “West Side Story” and the Kilties played The 1977 season was Spirit of Atlanta’s first William Tell Overture. “Pagliacci” and Heaven on Their Minds from and they had the honor of playing all of the Long banners replaced flags and the drums “Jesus Christ Superstar.” They featured a brass corps onto the field at finals. were draped with similar banners. The horn octet in Bellavia. North Star’s rifle line wore big red lips line was led superbly by arrangers Larry The eleventh-place Crossmen played Marche during Sir Duke and there were many flags Kerchner and Jim Prime. The soprano soloist Slav, Let’s Hear it for Me, Nadia’s Theme, Bless with unusual shapes being seen on the field. was Jim Brady, who had great range and the Beasts and the Children and Russian This was a strange year. In 1977 prelims, intonation in the upper register. Christmas Music. Garfield and the Kilties tied for twelfth due in The opening horn blast had enough power The Garfield Cadets performed “Rite of part to the penalties assessed against the to move the entire corps downfield before even Spring” and “Star Trek.” All of the guard Cadets. This should have meant 13 finalists, hitting the first note of “Pagliacci.” This was members were taught to play horns for the I but the Bridgemen were disqualified for the first year the “future” Velvet Knights’ show Don’t Know How to Love Him closer, which marching overage members. coordinator (and former Young Americans ended with a vocalized “Amen.” To further cloud the issue, the Freelancers member -- 1968-1973) Gregg Clarke marched In 1977, vocalizing on the field was illegal, and Seneca Optimists tied for eighth in finals with Bayonne. as was having the guard play horns. In spite of and the Oakland Crusaders, who took high The 27th Lancers, recognized for their this, the risk-taking Garfield sang the “Amen” drums in prelims, didn’t make finals. Ralph Pace- and George Zingali-designed drills, at the end of the show, knowing that they The first instance of the tradition of leaving innovative guard and strong rifle line, now had risked a multitude of penalties, up to and shoes on the field was at 1977 DCI Finals in a sabre line and the guard exchanged flags over including disqualification. But the members Denver. When the Kilties left the field after the horn line. felt that challenging the rules and pushing the finale, there remained a pair of shoes left by They performed the Fanfare to “Rocky,” envelope was worth the risk. The audience none other than “Mr. Kiltie” himself, Ray Gonna’ Fly Now, selections from Offenbach’s loved the singing, but Garfield got a penalty and “Moon Eyes” Johnson, who is still marching to “Gaite Parisienne” and their haunting tied the Kilts for twelfth. this day (2002) in the Kilties senior corps. signature piece, Danny Boy. Both the 27th They also sang Take a Walk on the Wild Side Both Winter Guard International (WGI) and Lancers and Cavaliers introduced piccolo as a vocal warm-up on the way to the starting Cadet Corps International (CCI) were formed in sopranos. line. The guard wore hot pants and the corps 1977. 128

imPaCt, Dolbeau, QUE (1995). latiN kNiGHts, Bronx, NY (1998). Blue NOtes alumNi, Ishpeming, MI (1991). Photo by Roland Doré from the collection of Drum Corps World. Photo by David Rice from the collection of Drum Corps World. Photo from the collection of Drum Corps World. The 1977 DCI Championships for the tempo change. Most used an 8- or 16- most startling and clear contrast to traditional Writing about the DCI Championships held beat drum cadence. Other changes happened at marching organizations. There may be in Denver, 1977, in “The Drum Corps the same time as the tempo shift. Many of the occasional missed notes, chopped releases or International Championships,” Instrumentalist groups changed to a new marching step -- from inaccurate intonation from the bugle players; magazine, June, 1978, Richard T. Roznoy a high step to a military shuffle for example -- however, even the mediocre corps have presented the following details of the finer or played the new song in a key a whole step exceptional drumming, especially when points of the drum corps scene at this time: higher. compared to almost any marching band. Many “For this observer, as well as for the many “Very few used continuous playing by the factors go into making the corps’ percussion marching band directors who were in bugles, although most corps kept their horns section sound and look outstanding. attendance, the big story was not who won, but up while the marching tempo shifted. “The size of the snare line varied from the the fact that drum and bugle corps have “Featuring the percussion section -- during quartet used by the Marquis from Fond du Lac, established themselves as ‘the most exciting the competition, corps separate the percussion WI, to the dozen snares used by the Capitol thing happening on the marching field,’ in the section from the rest of the group in a two- or Freelancers of Sacramento, CA. Most corps had words of Jack Foote, marching band three-minute feature number. This is a four bass drums in different sizes and pitches. coordinator at the University of Colorado. requirement of DCI competition rules. “The larger corps complemented this with Drum and bugle corps present shows that are a “At this time the other corps members are four cymbals, also in different sizes, and a blend of precision, imagination in field doing a marching-drill routine. Many corps collection of various tenor drums. These maneuvers and, most importantly, various incorporated the color guard into the drill, included marching bongos, tom-toms and musical elements appealing to large audiences. adding to the visual interest. The groups timbales, as well as triple-toms in many sizes. “In the week of DCI, I saw the majority of coordinate their drill, adding to the visual “In most cases, the marching timpani the corps using the effective musical technique interest. The groups coordinate their drill with seemed to me to be heavy, awkward and of playing softly. Occasionally a corps the percussion cadences in many interesting generally out of place. However, these timpani accomplished this by facing away from the step-patterns. They march in 3/4, 5/4 and 7/8 players did serve one useful function -- in stands. In other cases, the use of soft-rock time with either off-the-beat steps or with concert formation, while one person played all tunes was especially effective, often with slower different size steps to accommodate the change the timpani, the other performers were free to than usual marching tempos. Almost any Barry in meters. use their assortment of auxiliary percussion Manilow and Chuck Mangione tune worked “Soloists have long been a part of the corps instruments including triangles, wind chimes, very well in this manner. tradition, especially high range screech vibra-slap, various kinds of whistles, “Another element of this style of playing was players who add a keen sense of excitement to tambourine, cowbells, ratchet, chimes, maracas, the use of a half-closed cymbal played with the the show. But baritone and even French horn castanets and woodblock. stick of one of the adjacent snare drummers bugles are playing an increasing number of “Rounding out the percussion section were (the cymbal player marched alongside), giving solos in DCI competition. the mallet players. Drum corps with good the effect of either a hi-hat or sizzle cymbal. “These solo features were especially effective mallet players were quick to feature them and “Playing without drums -- occasionally when the soloist faced the crowd while the their non-directional sound was effective when omitting drums was especially effective when remainder of the corps played softly or faced in the corps faced away from the crowd. I suspect the low-register bugles were playing the melody the opposite direction. the other members of the corps who were line. By eliminating snares and bass drums, a “Many corps used small combinations of the spread nearly 80 yards apart during a drill soloist or a muted high-range bugle could be various bugles such as the 10-member group maneuver were pleased to hear the penetrating heard without straining or forcing tone. that served as a counterpoint to the larger security of the rhythm. “Changing tempos without a pause in group in the Madison Scouts’ “West Side Story” “For the most part, horizontally-mounted marching; picture this -- a corps has just routine or the small polka band in the middle bells were used and when a group had two good finished its concert presentation with a rousing of the “Gaite Parisienne” routine given by the players, a xylophone was also added. One group number that has brought the audience to its 27th Lancers or the excellent, intricate duet was an exception -- the Santa Clara Vanguard feet. They immediately change the mood of the performed by soprano and French horn players used a complete marching vibraharp without show by playing a soft-rock number as they from the Blue Stars. amplification, which gave the group a unique retreat. The purpose of the number is to set “Muted soprano bugles were also effective as sound. the group up for a surprise presentation. demonstrated by one player answering another “There were also distracting things done by “At a designated time during the number (at in the Bridgemen’s rendition of Chuck the drum corps. Some are ingrained in the the end of the bridge or the dominant seventh Mangione’s Land of Make Believe or the aura of the drum corps mystique and they will chord just before the end), the entire group two-girl ‘wah-wah’ routine (one to work the never be changed, e.g., the fierce expressions makes a quick shift into a new tune played in a valves and play the instrument and the other to worn on the faces of the young participants, faster marching tempo. The tempo of the new operate the mute) featured as a solo by the especially those in the color guard, or the number again brings the audience to its feet. all-girl corps St. Ignatius, from Hicksville, NY. affected hand motions of some marchers and “There are various ways the corps prepared “Percussion sections offered perhaps the the stilted style of saluting the audience (the 129

OsHkOsH warriOrs, Oshkosh, WI (approx. 1968). starisers, Leicester, MA (approx. 1978). rOyal laNCers, Portland, OR (1973). Photo from the collection of Drum Corps World. Photo by Ed Ferguson from the collection of Drum Corps World. Photo by Ruban Zapata from the collection of Drum Corps World. current vogue is for the player to cover his face first year the corps danced around a maypole. down. The corps marched a turning-wedge, as if hiding behind the salute). After tying for first in prelims, Santa Clara, and again performed their all-fall-down move at “Also popular with some corps was the who had taken fourth place at DCI Midwest, DCI Finals in Denver. angling of their bugles in different directions. edged the Phantom Regiment by only 0.1, the In only their second year as a drum corps, Sometimes this was effective, as when an entire smallest DCI winning margin to date, but Spirit of Atlanta took sixth place, opening with company front lifted their horns for greater Phantom also had a 0.1 penalty and scored the Walk Him Up the Stairs. They won the brass elevation and projection, but the quick sideways highest M&M total in DCI history (to date) at execution caption with exceptional ensemble motion that gave the effect of projecting the finals. work. It is rumored that their powerful horn sound one way or another was generally The Rockford corps performed a medley line shattered glass in 1978. ineffective. from the three Stravinsky ballets (“Firebird,” Dixie could be heard from the baritones at “It reminded me of a 1940s dance band “Petrouchka” and “Rite of Spring”), the drum the end of Higher and Higher and that technique with the trombonists aiming their solo Flight of the Bumblebee, which utilized a southern tune continued to be quoted in many slides every which way. One exception to this complete musical drum line, Grieg’s “Piano years following. The finals audience was on its was the Bridgemen’s medium-slow sideways- Concerto in A minor” and In the Hall of the feet from Spirit’s company front push during front motion that gave the effect of phasing the Mountain King, and closed with their famous Jim Ott’s arrangement of Let It Be Me through volume in and out on Land of Make Believe. arrangement of Ode to Joy from Beethoven’s the entire last minute of the show. They had a “The technique provided adequate, subdued “Ninth Symphony.” rifle line of 16. accompaniment to the muted solo. Along the Phantom’s rifle line spun weapons with The 27th Lancers performed selections from same lines, some corps have used the long, multi-colored, shiny streamers. They “Carmen,” Celebrate and Can Can from “Gaite distracting technique of bouncing their bugles marched 12 snares and were also said to have Parisienne” with energy, excitement and their to indicate excitement. the loudest horn line in 1978. This claim to typical flashy guard work. They marched a “Another distraction in some corps’ shows fame would undoubtedly be challenged by SCV, rotating parallelogram and the guard (which were those drum majors who conducted the Madison, Bridgemen, Blue Devils, 27th Lancers included 10 sabres and 10 rifles) used pom pons highlights of an arrangement rather than and certainly the Spirit of Atlanta. (introduced by Ralph Pace) while dancing the keeping the corps together. One may have this The defending champion Blue Devils blew “Can Can,” which replaced their traditional same complaint about many a band or the stands away with their “Chicago III Suite,” closer, Danny Boy. orchestra director, however, so this may not be Spanish Fantasy and Legend of the One-Eyed They used the pom pons again in 1982 for indigenous to drum corps. It seemed to be Sailor and a 20-person rifle line. Their drum the same song. And, like Santa Clara, in 1978 most prevalent in younger, smaller and major opened the show by carrying the they experimented with a maypole, but gave it generally less-experienced corps.” American flag to its posting place and their flag up mid-season. 1978 line lifted the soprano soloist on a shield. Both The ninth-place Crossmen performed Alfred Winning musical program played by Santa the Blue Devils and Velvet Knights wore Reed’s Russian Christmas Music, a popular Clara Vanguard: Overture to a New Era, “Dance bullfighter-style capes. selection which they (in 1982) and many other of Welcome” (Lezghinka and Hopak) from The Madison Scouts had perhaps their corps would play again in the future. They “Gayne Ballet Suite,” If You Believe from “The loudest horn line up to this time (with a quality wore long, flowing capes, painted one-half of Wiz” and the “Bottle Dance.” sound) and wailing soprano soloists. They the face of each drummer and had silver Most played selection: “Star Wars.” played Malagueña and a “Star Wars” medley. streamers at the bottom of their flag poles. Other selections played by multiple corps: They marched 12 snares and 30 working rifles; A favorite program of 1978 was the “A Chorus Line,” Evergreen, Another Star, their rifle line wore short, red-lined capes, eleventh-place, rookie-finalist North Star’s “Rocky,” Send in the Clowns. performed an under-the-leg catch and they presentation of “Star Wars,” This Masquerade, The 1978 season was an incredible one for were doing leaping disco dancing. Olé, Sir Duke (during which the contra soloist competition. Everybody defeated nearly Rebounding successfully after their 1977 was hit in the face with a pie) and The everybody else among the top four corps at disqualification, the Bridgemen sported new Approaching Storm. Two screamers from this sometime during the season, except for Olds two-valve, brass-lacquered bugles that had period (1978-1980) were Jerry Noonan from Madison, who never lost to the Bridgemen, but a beautiful sound. They continued their own North Star and Larrie Dastrup from the Blue came close near the end of the season in wacky brand of entertainment with a great Devils. Oklahoma. horn/baritone line that played Ritual Fire The Guardsmen presented the Theme from The Santa Clara Vanguard became the first Dance and Sabre Dance, a “Salute to Mayor “Masterpiece Theatre,” Parade of the Wooden corps to win three championships with a show Koch and the Big Apple” and closed with a Soldiers, “Celebration Suite” and their that included their bottle dance (performed by rocking Spanish Dreams and Hymn to the Last traditional closer, Greensleeves. They had an 34 girls). The total combination of power, Whale. excellent guard which also would be a force in precision and musicianship was dazzling. The Their rifle line entered the field in hooded the winter guard arena. They also danced guard no longer used rectangle flags, but they black monk’s capes, they did a sabre dance and around a maypole and first exhibited their did use hoops instead of rifles and this was the a honky-tonk dance and twirled their flags lying trademark guardhouse, from which their rifle 130

rOyal laNCers alumNi, Wyandotte, MI (1991). sOutHerN tier GreNadiers, Vestal, NY (approx. 1978). Photo by Roger Ellis from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World. line emerged. peacock’s tail and the Oakland Crusaders’ rifle to make it “fit” the drill) and auxiliary groups This was the first year the Kilties allowed line wore tights and white tuxedos. must have movements appropriate to the women in their ranks. They opened with My Growth in the percussion arena continued. music. Favorite Things and ended with their There were different sizes of percussion lines April, 1978 was the first performance year of traditional closer of Auld Lang Syne. and varied percussion treatments. In earlier WGI, which had been formed in 1977. Now the The Cavaliers did not make finals in 1978. years, the snare drums had provided most of drum corps guards would become more Superstitious drum corps fans would probably the rhythmic interest, while the tenor drums innovative and colorful, by bringing some of attribute this to the “Curse of the 7” which provided support with a contrasting, simpler their elaborate work from the gymnasium to seemed to plague the activity during the decade rhythmic pattern. the football field. of the 1970s. So the story goes, if a corps Although this kind of percussion was a 1979 finished in seventh place, the next year they multiple section, the term now had much Winning musical program played by the would fall out of finals. broader scope than just a wide assortment of Blue Devils: Stan Kenton’s “Chicago III Suite,” This hypothesis does have some percussion instruments. La Suerte de los Tontos and My Heart Belongs supporting evidence, since it happened to the In the traditional percussion section, the to Me. Garfield Cadets, who took seventh place in 1971 main importance had been placed upon a single Most played selection: “Children of Sanchez” and thirteenth place in 1972; to the Des Plaines rhythmic and textural line. Now the multiple (by Bengal Lancers, Blue Raeders, Blue Stars, Vanguard, who took seventh place in 1972 and percussion section created a contrapuntal Cleveland Caballeros, Cavaliers, Garfield Cadets, twentieth place in 1973; to the 27th Lancers, texture, with the snare drums still functioning North Star, Sundowners, Iron Cross and who took seventh place in 1973 and twentieth as the backbone of the section. Firemen/Vaqueros). place in 1974; to the Kilties, who took seventh The multiple percussion sections were Other selections played by multiple corps: place in 1975 and dropped to twenty-eighth in performing many different musical lines at the “The Wiz,” Birdland, Fantasy, Over the 1976; and to the Cavaliers, who took seventh same time, sharing the interest between Rainbow and “Superman.” place in 1977 and dropped to sixteenth in 1978. families of tuned instruments. The single bass Writing in Drum Corps World, Gregg Strand However, toward the end of the decade and drum was replaced by several -- each of a called 1979 a “vintage year” for drum corps and into the next, the situation began to improve, different size and of a different pitch. one of the best years to date. This was the first because the Guardsmen, who finished seventh In place of the nearly obsolete single tenor year that DCI finals was held in the deep, hot in 1979, only dropped to twelfth place in 1980, drum were multiple-pitched double and South. and the Santa Clara Vanguard, who finished triple-toms in a variety of sizes, as well as In this final year of the decade, there were a seventh in 1980, took first place in 1981, thus marching bongos and timbales. Bells, total of 362 drum corps contests, with 68 being ending the curse in a big way! xylophones and chimes were being added and DCI sanctioned events and 66 corps entered the There were a few corps in the 1970s that functioned independently. DCI Championships. managed to survive the curse, e.g., the De La Timpani provided additional harmonic Though two of the corps were not 1978 Salle Oaklands of 1974 (maybe because they support and color was added to this sonority by finalists (Cavaliers and Troopers), the 1979 DCI became the Oakland Crusaders in 1975). different sets and sizes of cymbals and Finals was the first in which all corps had been The Connecticut Hurricanes introduced percussion accessories that included cow bells, previous finalists. another new percussion instrument, the tambourines, woodblocks and shakers, etc. The top 12 had remained relatively the same octaban, which consisted of eight long, clear The percussion section was often featured in and Spanish music was replacing the tubes played like cluster drums. a two- or three-minute number, while other overplayed Fanfare from “Rocky” and Theme There was great expansion in the visual corps members performed a marching-drill from “Star Wars.” area, with experimentation in unusual uniform routine in interesting step-patterns, The 1979 season was also a year of clashing additions, which included lots of capes, and a accommodating the change in meters. flags and large rifle lines, which were variety of new and different equipment. Corps were giving increased attention to attempting new and daring tricks, and there Rifle lines were highlighted with costuming dynamic shadings, as opposed to blowing as was less clutter on the field. and movement. The Capitol Freelancers loud as possible, e.g., angling of the bugles in The Blue Devils won their third entertained with a musical and visual Sabre different directions for different effects and championship in four years, scoring 93.55, Dance, Boston Crusaders’ podium was a attention to a planned system which would which was the highest score in the eight-year ceramic lion with steps, the Cavaliers had elicit emotional responses through dynamics history of DCI. There was overwhelming rainbows on their flags, there were many horn and tension and relaxation in both the music power during the concert number, La Suerte de flags and hand-held flags in a variety of sizes, and the drill movements, thus making the los Tontos, and they closed the program with Avant Garde and Blue Stars (whose guard wore audience participants in the total production. 32 rifles. red turbans), performed in concert with The total program would now expand to For the third year in a row, the Phantom umbrellas, the Mississippi River Colts had a include improved staging and “visual Regiment was ready to ascend to the throne showboat full of balloons, the Sky Ryders musicality” (i.e., the drill must reflect the with a nearly-perfect program that contained created a huge rainbow that spread like a music, the music cannot be pieced together just Saint Saens’ “Symphony #3” (“Organ 131

PatriOts, Rochester, NY (2000). Praesidium all-Girl, Riverview, MI (approx. 1972). wOOdsiders, Newark, NJ (1964). Photo by David Rice from the collection of Drum Corps World. Photo from the collection of Drum Corps World. Photo by George Narcavage from the collection of Ron DaSilva. Symphony”) Malambo from Alberto Ginastera’s 1979 and 1980 27th Lancers. The corps nightclub number, which included the Andrews “Ballet Estancia,” a Grieg concert medley of executed with energy and precision that has Sisters, Gene, Gene, the Dancin’ Machine Morning from “Peer Gynt Suite,” his “Piano rarely been duplicated since. The rifle line was boogie with the shuffle step and “Bye Bye, Y’all” Concerto in A minor,” a percussion feature of awesome. The red coats and busby hats were signs. The “Gong Show” spoof left the audience March of the Dwarfs and closing with a beautiful and there was no sight in drum corps in hysterics. At finals, an impromptu football majestic Elsa’s Procession to the Cathedral like all of them in a row, spinning in double game broke out; instead of falling down, some from Wagner’s opera, “Lohengrin,” perhaps the time with flawless synchronization. of the corps lined up for a scrimmage. most beautiful moment of the season. It was amazing how effortlessly their rifles Dennis DeLucia’s percussion sections with Elsa’s would become a theme song for them spun and tossed without ever dropping. One both the Muchachos and the Bridgemen were in the future. And Phantom’s winter guard move which had great crowd appeal was the consistently among the best and he led the captured their first WGI Championship, an “Grand Tops,” a 50-yard-line move similar to Bridgemen to three national titles. Into the achievement which would be repeated in 1980. the “Rockford File.” The striped flags with 21st Century, DeLucia continues to be one of The defending DCI champion Santa Clara streamers off the end looked incredible when the activity’s most successful percussion Vanguard, finished third with a musical they spun or tossed them. leaders. program similar to the previous year, opening “The Rockford File” After finishing twelfth in 1978, the with Verdi’s “Requiem,” followed by three Many corps performed variations of the Guardsmen jumped to seventh place in 1979 selections from Khatchaturian’s “Gayne Ballet 50-yard-line file through the years. It was (moving up three places from prelims) with one Suite,” If You Believe from “The Wiz” and a executed on the field first by the 1973 Anaheim of their best performances ever (and beat reprise of their popular bottle dance which they Kingsmen, but most remembered from the Madison -- perhaps for the first time) playing did not put into their show until finals. 27th Lancers and the Phantom Regiment. Fanfare, Tiger of San Pedro, “Henry V” and The guard equipment included bedposts Nancy Scopa Vetrano explained variations of Greensleeves. The 1979 corps had a (instead of rifles) off-the line, with the entire the Rockford file as follows: “The difference particularly outstanding horn line that featured guard on the 50, and the maypole returned for between the 27th Lancers’ and Phantom’s was, several screamers. the second year. They marched 12 snares and Phantom’s guard (flags and rifles) was on the In 1979, Spanish jazz was at the height of Drum Major Rick South played a baritone solo. 50, the rifles did flips, the flags did moves. popularity, with the corps and the audiences, Spirit of Atlanta’s 1979 repertoire became a “27th’s had the rifles doing triples and quads but this similarity of music between a number classic. Arranged by the genius of Jim Ott, while on the 50 and the flags were out on each of corps sometimes tended to blur the their program entertained the crowd with an side about four or five paces, the flags threw differences between them, not to mention the opener of Buddy Rich’s Nuttville, a classic over the rifles’ heads to each other, back and fact that so many of them were playing the concert of Sweet Georgia Brown and Devil forth, while the rifles threw their flips. same piece -- “Children of Sanchez” (played by Went Down to Georgia, framed by the two “Madison had a very exciting one in 1981 or three of the first five corps to appear in finals). “nuclear” charts of the opening fanfare, Georgia 1982. They took it even further and had more The shows were designed to be crowd- on My Mind and a final push to the beautiful, lines of flags making for a very exciting tossing pleasers, with rousing concert presentations yet powerful closer, Let It Be Me. It has been of all equipment. At the end, the back rifle did and outstanding soprano jazz soloists in nearly said that their 1979/1980 horn lines (the about an “8” or “9” (flip) and caught it in a every corps. “awesome wall of sound”) were not likely to be half-split.” Madison opened with The Sorcerer and the equaled in terms of sheer controlled sound The 27th Lancers preceded Garfield in Latin, with 34 rifles at the end of that piece, intensity. certain impacts on drill design, specifically with Bohemian Rhapsody, Granada Smoothie, The 27th Lancers featured constant and the George Zingali-designed drill they used in Pieces of Dreams and a beautiful closer, The exciting motion, especially in the activity’s top 1979 and 1980. Zingali’s efforts with 27th were Way We Were. They slipped two spots from color guard, whose difficult precision the first examples where striking patterns just sixth place in prelims to eighth place in finals. equipment and flag work were considered a mysteriously appeared out of nowhere, then Their off-the-line was done with a stereo effect, routine part of the drum corps scene in 1979 dissolved just as quickly -- a technique which their rifle line did the limbo while tossing rifles and 1980. has been used repeatedly by corps ever since. over lowered flag poles and the horn line Their music consisted of Holst’s “English The Bridgemen provided fun and lively experimented unsuccessfully with an Folk Song Suite,” with the giant pivoting entertainment without sacrificing excellence in instrument called the tromboneum on the anchor, a Don Ellis jazz piece titled Open Wide performance. As the clowns of the activity, they baritone parts. drum solo of Take Five, with a rotating opened with “Pagliacci,” in which the soloist Recognized for exciting music and parallelogram, followed by “On the Twentieth was a “gas,” followed by Spanish Dreams, a outstanding soprano soloists, North Star played Century” and ending with their classic closer, raucous concert of Boogie Woogie Bugle Boy “Children of Sanchez,” Bellavia and Olé and a Danny Boy. The Lancers had a female playing and a revised version of history with their “Civil hand-clapping Beach Boys medley of Good snare as early as 1979 and she also marched in War Medley” and reenactment, during which Vibrations and Barbara Ann. Their snare line 1980 and 1981. the South was victorious! marched across both their rifle squad and The use of rifles and flags was defined by the This show is also memorable for the 1940s cymbal line. 132

i.C. reveries “sit-iN” at tHe 1966 vFw NatiONal FiNals iN Jersey City, NJ, PrOtestiNG tHeir exClusiON FrOm FiNals, NiGHtFire, North Hollywood, CA (1996). Revere, MA (1966). Photo by Moe Knox from the collection of Drum Corps World. Photo by Rocky Lewis from the collection of Drum Corps World. Both the Guardsmen and North Star were Visually, the activity was going wild. In including the high horn trophy both years. exciting, multi-finalist corps in the 1970s, but attempting to be the most entertaining and One of the Bucs’ lead sopranos during these unfortunately, both disappeared in the early probably to earn GE points, there were championship years, Matt Krempasky, became 1980s. interesting developments in every area. Here an assistant horn instructor with Yaklich and The Blue Stars, also known for exciting and are a few that Jodeen Popp cited in her book: later became an arranger/instructor with the recognizable music, played the St. Louis Blues “Spectra’s guard went to shorts, the Blue Crossmen, Spirit and Jersey Surf. March, a percussion plus brass feature of Devils to gauchos, the Freelancers to jumpsuits The 1970s had been an exciting decade, with Birdland, a concert of La Fiesta, the Gershwin and the 27th Lancers’ drum line changed from the later years being some of the fastest classic, Strike Up the Band, and finished with kilts to pants. progressing eras of the activity. It was a period Children of Sanchez. Their guard appeared “The Royal Crusaders had a ballet squad in when modern drum corps took shape. One without their red turbans at finals. very short leotards and the Velvet Knights’ could hardly wait to see what would evolve in The Cavaliers returned to finals, but still in color guard marched in golden crowns and the 1980s. a pop mode (before embarking on more long capes. In 1979, Brian Tolzmann, then of Drum serious programs in the 1980s), playing “Santa “The Greece Cadets performed ‘The Wiz,’ Corps News, conducted a poll asking fans for Esmerelda Suite,” “Cuban Fire Suite,” complete with Dorothy and their rifle line in their favorites in several categories. The results Somewhere Over the Rainbow and “Children of costume, including wigs, the Connecticut were published in Drum Corps News, 1979, and Sanchez.” They marched rotating concentric Hurricanes had flags with big red hearts and reprinted with permission in Jodeen Popp’s circles and their guard members twirled flags the Reading Buccaneers wore light blue history, “Competitive Drum Corps,” 1980 while balancing themselves on their left hand Bridgemen-style coats and used double flags. supplement pp. 29-30. and outstretched legs (to become a guard “The Royal Brigade had 30 rifles during Following are some of the results of “The trademark in the future). their “1812 Overture,” the Defenders stepped Great Decade of the 1970s” poll. Most of these The Troopers claimed the last finalist spot, over their prone flag line in a company front, successful pieces would be played again by the but not by playing Spanish music. Rather, they the Guardsmen threw their rifles over their same or another corps in the future. began their 1979 appearance with a Battle contra squad while holding their horns aloft at Best opener music Hymn warm-up, then started the show with an arms length and the drum major of the • Slaughter on 10th Avenue (Madison uncharacteristic jazz piece called Variations on Cleveland Caballeros jumped from his podium Scouts, 1975). a Scene by Alan Broadbent, followed by into the arms of two rifle girls. • “Chicago III Suite” (Blue Devils, 1978-1979). Aquarius/Let the Sunshine In, then they went “The CMCC Warriors exited in a solid oval, • “Pagliacci” (Bridgemen, 1977). “western” with “Billy the Kid,” Ecstasy of Gold Florida’s Vanguard had their girl guard twirling • Channel One Suite (Blue Devils, 1976-1977). from a Clint Eastwood western classic movie flags and rifles at the same time, 27th Lancers’ • “How the West Was Won” (Troopers, 1970). called “The Good, the Bad and the Ugly” and flag line joined their rifle line in twirling while • Crown Imperial (27th Lancers, 1975). they ended their show with their traditional flat on their backs and each of the Watkins Glen • “Folk Song Suite” (Anaheim Kingsmen, Ghost Riders in the Sky, which drew the Squires’ guard members retreated into a 1972). longest applause in memory at prelims. multi-colored wind sock at the end of their • Ritual Fire Dance/Sabre Dance (Bridgemen, The Crossmen shortened their capes and concert number. 1978). surprised the crowd by revealing Superman. “Having unofficially broken previous field • Mambo (Anaheim Kingsmen, 1974). They opened with a classical number, Slavonic clutter records, Pioneer presented a nostalgia • Overture for a New Era (Santa Clara Dance #1, and dropped out of finals, even program featuring a revolving movie screen -- Vanguard, 1977-1978). though their horn line placed in the top five in complete with a Charlie Chaplin, and the Sky • Fanfare from “Rocky” (27th Lancers, 1977). prelims. Ryders also did a Chaplin bit using their entire • “New World Symphony” (Phantom Regiment, The Boston Crusaders placed nineteenth rifle squad. 1977). with only 25 horns (and through the 1980s “The Ventures presented a used car lot • Pictures de España (Muchachos, 1974). continued to perform with a smaller atmosphere with small, triangular flags hang- • Barnum and Bailey’s Favorite (Argonne membership than other comparable corps). ing from thin, outstretched ropes. Rebels, 1972). A big jet flew over Boston during the intro to “The Colts played for President Carter • Fanfare (Guardsmen, 1979). Birdland in Birmingham, but the corps blew during his trip up the Mississippi and Garfield Best concert, production number them away in volume. (Other annoying presented a sign at the conclusion of their drill or flag presentation music planes of memory were during DCI Miami informing the audience, ‘No Verbal Amen due • “Gaite Parisienne” (27th Lancers, 1977). 1983 finals and preceeding the Crossmen at to 1 point penalty.’ ” • Ritual Fire Dance (Anaheim Kingsmen, DCI in 2001). In 1979, the senior Reading Buccaneers 1972). And a new corps, Suncoast Sound, just back showcased one of the finest horn lines ever • Young Person’s Guide to Drum Corps (Santa from 32 days in England, played The First Noel assembled (continuing in 1980 and 1981) under Clara Vanguard, 1973/1974). and featured a female twirler in gold sequins at the direction of Tony Yaklich. They won DCA • Artistry in Rhythm (Anaheim Kingsmen, DCI Prelims. championship titles in 1979 and 1980, 1974). 133

memOrial laNCers, St. Louis, MO (1998). BarONs, Milpitas, CA (1978). melrOse BlaCkHawks, South Amboy, NJ (1998). Photo by Dan Scafidi from the collection of Drum Corps World. Photo from the collection of Drum Corps World. Photo by Ron DaSilva from the collection of Drum Corps World. • Land of Make Believe (Bridgemen, 1976- Winter Guard International. numbers, i.e., opener, ballad and closer, or even 1977). Along with the disappearance of the tick just one musical selection divided into sections. • “Fiddler on the Roof” (Santa Clara Vanguard, system during the early 1980s, the American Sometimes the closer was the ballad. 1971). flag disappeared from the competitive field, Drum and bugle corps began to experiment • Legend of the One-Eyed Sailor (Blue Devils, secondary to rule changes to appropriately with music considered more refined and of a 1976). allow the American flag squad members to higher intellectual standard. Battle Hymn of • Harlem Nocturne (Bridgemen, 1977). become integrated into the corps as marchers the Republic or Stars and Stripes Forever were • “West Side Story” (Des Plaines Vanguard, in the 128-member count. no longer standards in corps repertoires and 1972). Brass and percussion fans might not be able to hum or whistle some • God Bless the Child (Madison Scouts, 1974). Throughout the 1980s, there was of the tunes being played. • Rhapsody in Blue (Madison Scouts, 1975). experimentation with new types of horns and As the activity became more competitive, • Mr. Clown (St. Andrew’s Bridgemen, 1972- new combinations of horns; in particular, the the major corps felt it necessary to branch out 1973). Blue Devils experimented with different types of into unexplored musical areas, sometimes • Sweet Georgia Brown (Spirit of Atlanta, mid-voices, with Wayne Downey writing some choosing relatively obscure selections by major 1979). incredible middle-voice parts. or minor composers and smaller corps would • Tiger of San Pedro (Guardsmen, 1979). Changes in drum line instrumentation and try (often unsuccessfully) to emulate the • Take Five (27th Lancers, 1979). aesthetic spawned whole new industries within champions and experiment with new Best closing music the percussion world. compositions and new ideas. • Danny Boy (27th Lancers). New lines of instruments since the 1970s While this factor greatly widened the • Send in the Clowns (Santa Clara Vanguard). included multiple-pitched bass drums, musical perspective and allowed for many • The Way We Were (Madison Scouts). fiberglass vests to hold the drums more thrilling presentations, it also caused a great • Brian’s Song (Madison Scouts). comfortably, different stick designs, deal of fan discontent and dissatisfaction that • Battle Hymn of the Republic (Troopers). unbreakable Kevlar drum heads and reached its peak in the early 1990s. • Stars and Stripes Forever (Argonne Rebels). free-floating snare drums capable of In their search for new compositions, some • Chase the Clouds Away (Blue Devils). withstanding the extreme tension made of the top corps reached into the more unusual • Pilgrim’s Chorus (Phantom Regiment). possible by the new Kevlar heads. compositions of the 20th Century as well as • Greensleeves (Guardsmen). Jim Campbell, former creative head of the into the repertoires of the concert band and • “King of Kings”/“Exodus” (Anaheim Cavaliers, stated that the explosion in symphonic wind ensembles and even into the Kingsmen). percussion instrumentation and technique vocal field. • Auld Lang Syne (Kilties). “revolutionized the drum corps activity.” Some corps, particularly Suncoast Sound, • Conquest (Boston Crusaders). During the decade, some corps marched brought original musical compositions to the • I Don’t Know How to Love Him (Garfield large bass drum lines. After the pit was field. Overall, the music became more difficult, Cadets) legalized and as it expanded in instrumentation, with furious tempos, rhythms and ranges that • Sir Duke (North Star). it also grew in expense. would become the standard as the decade • Bellavia (Freelancers). Music progressed. The Eighties Musical tastes were split. Some corps The growing sophistication of the 1980s also The decade of the 1960s was consumed with simply updated their arrangements of big band demanded that there be a thematic connection acquiring new and better sounds. The 1970s jazz, while others turned to orchestral works, between the musical selections played in a show witnessed a gradual breaking away from opera, wind ensemble literature, popular music, -- for instance all music from one country, from military traditions and setting new standards in Broadway musicals and even occasional a single composer, a single style or even a music and drill by the Santa Clara Vanguard ventures into world music. single composition. and the Blue Devils. Most shows still were being designed to For example, in the mid-1980s, it became Now the 1980s would be a decade of rapid please the crowd. The performance of complete fashionable for corps to organize their shows change and innovation, inspired by the musicals became popular (sometimes as soon as around the music of just one composer. The influence of George Zingali and the Garfield they hit Broadway) and some corps became following examples include at least two pieces Cadets. And during the 1980s, the activity quite theatrical in their approach. Actually, by the composer in question: would become much more sophisticated and over the years there were very few musicals not • 1983 and 1987 -- Phantom Regiment, Peter professional. performed in drum corps. Ilyitch Tchaikovsky. Also, while the 1970s were years of As the 1980s progressed, quality rather than • 1985 -- Garfield, Leonard Bernstein. percussion revolution and the 1980s a decade of quantity became the standard for American • 1986 -- Star of Indiana, John Williams. increasing complexity in the drill, the 1980s drum and bugle corps. Shows were often • 1986 -- Suncoast Sound, Stan Kenton. were also the age of a color guard explosion, designed with four musical selections, i.e., off • 1986 -- 27th Lancers, Stephen Sondheim. with ever-increasing equipment tricks, the line (opener), concert, drum solo and • 1989 -- Dutch Boy, Cole Porter. enhanced and encouraged by the newly-active closer. Less often there would be three Certain composers became associated with 134

lONG islaNd sOuNd, Bayshore, NY (1999). FitCHBurG kiNGsmeN, Fitchburg, MA (1995). imPulse, Orange County, CA (2000). Photo by Ron DaSilva from the collection of Drum Corps World. Photo by David Rice from collection of Drum Corps World. Photo by Karen Sunmark from the collection of Drum Corps World. certain corps over several years of performance and better scores. the color guard to tell a story in “Spartacus,” of their compositions. For example, the Perhaps if they had continued in the new Spirit of Atlanta and Suncoast Sound, although Garfield Cadets brought Leonard Bernstein to direction for a second season, it would have very different in approach, would introduce a the field in such compositions as “Mass,” “West become more comfortable to them and more more emotional type of color guard Side Story,” “Candide” and the “Jeremiah acceptable to their audience and judges. presentation. The Sky Ryders and Santa Clara Symphony”; Santa Clara had an affinity for the Visual design moved into the theatrical area and, along with music of Aaron Copland, just as the Phantom Pete Emmons is considered to be the visual Garfield (in the 1990s), began character Regiment did for Tchaikovsky. trendsetter of the 1970s and he brought the portrayal with their guards. There was interest in the music of Stan activity into the world of modern drill in 1980, Jay Murphy, visual designer for the Blue Kenton by Suncoast Sound and the Blue Devils the year of the groundbreaking asymmetrical Devils, always said that the function of his and the music of George Gershwin was a choice drill he created for the Santa Clara Vanguard. corps’ visual program and color guard was to do of many corps. Two years later, George Zingali and the what looked beautiful and what was Musical programs that were original, all or Garfield Cadets brought the drum corps world appriopriate to the music. in part, became increasingly popular with drum into insanely fast-moving drill and Zingali’s Dance and movement corps. Staff writers such as Michael Boo in style would forever change the face of drum and As the 1980s progressed, there was a move 1983 (Cavaliers); Robert Smith (Suncoast bugle corps’ marching programs. toward dance and dance training, influenced Sound in the 1980s and Magic of Orlando in the The “total” or “total concept” show took partly by the winter guards. In 1984 and 1985, 1990s); Scott Boerma and Taras Nahirniak over, as corps attempted to link the separate the Guardsmen winter color guard did back-to- (Madison Scouts); Matt Krempasky (Crossmen); musical selections in their show under a single back ballet shows which reflected the Wayne Downey (Blue Devils); Bruce McConnell conceptual umbrella. movement toward dance and this found its way (Bluecoats); Jay Kennedy (Cavaliers); and Jay Drill designers -- most notably George into the drum corps. Bocook (Cadets) wrote original compositions. Zingali and Steve Brubaker, Cavaliers -- intro- It became standard to have a dance soloist Many corps had become associated with duced radical changes in the ways corps moved in nearly every drum corps show and the soloist specific styles of music. The Blue Devils, the on the field, incorporating different step styles was often staged to draw attention to a horn Madison Scouts and the Bluecoats and and curvilinear, asymmetrical drill for- soloist. sometimes the Crossmen performed different mations into the shows to achieve a greater Dance helped to give guards the ability to styles of jazz; Phantom was known as the unity between music and motion. more gracefully execute their parts and originator of all-symphonic (classical music). Memorable visual moves of the 1980s accentuate the movement of the equipment. Santa Clara also had a history of playing include the Cadets’ “Z-pull”; Cavaliers’ Softly as And, along with dance, there was an increasing classical music, but in the late 1980s and early I Leave You step-over, dragon and double rifles; emphasis on bodywork, which was often 1990s went into a more theatrical style of Santa Clara’s asymmetrical drill; and huge incorporated into the movements of the corps performance. butterfly wings on the Blue Devils’ guard. They proper. Spirit of Atlanta played music of the South may have called these “bat” wings. In the late 1980s, ballet and modern dance such as dixie jazz, gospel-style music and music Color guards choreography started to dominate the color from “Gone with the Wind.” In the late 1980s The color guard, whose earliest function was guard movement and their staging was of and early 1990s, the Cavaliers and Cadets to guard the American flag, began to add props extreme importance to the design of the show. branched out into compositions written for and equipment related to their show’s theme to Creating excitement bands or symphonic wind ensembles. the standard silks, rifles and sabres, and they through anticipation In fact, over the years, the regular audiences moved from the back of the field to become Even before the 1980s arrived, corps were had developed certain expectations of styles and more integrated into the total show design. already trying to incorporate more subtle forms traditions for most of the major corps and it At WGI in 1980, rifles were flying all over of audience response into their show. One of was when these corps departed from their and on the field that summer there were many the ways they would do this was to program expected style that they often took a tumble forms of head choppers with such corps as things which would create a sense of in favor with the audiences and/or in Madison, Cavaliers, Phantom, Guardsmen, anticipation. This anticipation would be placement with the judges (e.g., Spirit of Mandarins and Northmen and State Street something more appreciated by the long-time Atlanta’s performance of Stravinsky’s Review (winter guard from Madison). drum corps fan, who would look forward to “Petrouchka” in 1988 and Amin Bhatia’s These guards, along with the 27th Lancers seeing certain features over and over again. “Interstellar Suite” in 1989). and the Bridgemen, would bring this daring Trooper alum Tom Doogan explained it this Often, when a corps tried something totally equipment work to the drum corps field as well. way: “One of the elements I remember from my new in music, drill, visual, etc., it might not be The Cavaliers may have set a record for the rookie year in 1980, was that many of the shows successful the first year, but would open up new most tosses in winter guard. created a great sense of anticipation as to what ideas for the future. However, after taking a fall Through the 1980s, the color guard would was coming next. in placement, the next season the corps would play an increasingly important role in corps “I remember the years the Blue Devils had creep back into familiar territory for security performances. Phantom Regiment would use different variations on the huge gates that 135

imaGes, Philadelphia, PA (1994). irON CrOss, Delaware County, PA (1975). leHiGH valley kNiGHts, Allentown, PA (2001). Photo by David Rice from the collection of Drum Corps World. Photo from the collection of Drum Corps World. Photo by Dan Scafidi from the collection of Drum Corps World. would rotate to the company front. It was (by “rumps” were coming. The Caballeros Alumni for about four counts -- it was almost as if they today’s standards) a slow developing move and full-corps backfield-to-front-hash company were gathering themselves. Then, WHAMO! everyone knew what was coming and that you front charge playing Flamenco. A glorious explosion of sound that almost were about to have your face blown off. • Madison’s ‘V’ rocking back and forth -- seemed to push the stands back a couple of feet. “Or the Cavaliers playing Softly as I Leave such a little move, but with such a tight, strong “As much as I remember the impact points, You heading back to the corner of the field and horn line. Their 1995 pinwheel closer. The I remember giggling with anticipation in the just to turn and wham! Then the toss over the audience was on their feet as the wheel slowly time before the impact points occurred. horns and the step over the rifles. No surprises grew and quietly rotated and hit a company Tension and release. Part and parcel of music.” here, but wow! front as the horns blasted toward the front 1980 “The 27th Lancers’ guard setting up on the sidelines. Winning musical program played by the 50 for an absolute orgy of color and movement, • Phantom Regiment setting up the Blue Devils: New York Fantasy (Wayne Downey with flags spinning, then flying; rifles Rockford file, as their captain moved into the original), Ya’ Gotta’ Try (Sammy Nestico), performing with ungodly precision. You could 50, you knew it was about to begin. The Pegasus, Free (drum solo), La Suerte de los feel what was about to happen. That feeling of disappearing color guard under and through Tontos, Pauper in Paradise, Dindi (seven anticipation was INCREDIBLE! the horn line in the 1970s productions of “An selections). “Or if you ever witnessed the Troopers’ American in Paris.” In “Spartacus,” you knew Most played selection: “A Chorus Line.” sunburst, you could absolutely feel the emotion they would just blow you away. The excitement Other musical selections played by multiple building. The most recent example I can give is would build as they marched across the field corps: Fantasy, Theme from “Ice Castles,” 2000 Santa Clara as they moved to the sideline prior to the first note. Things moved a little “West Side Story,” “Annie.” during Agnus Dei. It absolutely took my slower then, which gave you the opportunity to At finals, the top four corps were separated breath away. enjoy them. The full corps crab step blocks. by a margin of only 0.8, with five different “It seems like many of today’s (2001) • Santa Clara’s bottle dance. corps sharing the four high caption scores and moments are swift, sudden expressions that can • New York Skyliners’ traffic jam. there was a tie for high percussion. Both the still hit you like a ton of bricks, yet I long for • Star of Indiana’s cross at the end of the 27th Lancers and the Bridgemen came close the drama of the slow build-up, where you 1991 Roman show. to becoming the first Eastern corps to win know what’s coming and you can’t wait for the • Troopers’ rifles doing their exchanges with the DCI title. experience. Just like the ride up the chain on a either the drum major or captain in the middle. During this season there was a relaxation roller coaster, slow to develop, yet allowing the Their build-to-the-push drill in their color of some of the rules. These included: 1) anticipation to build to a climax, creating an presentation of Battle Hymn. The set-up-the- elimination of stop time requirements; 2) no incredible rush as you break free to the control flag-on-the-50 charge to the stands. Also their penalties for drops or retrievals; 3) use of the of pure gravity.” full-corps company fronts off the line and American flag as an option rather than a Other features which created anticipation exiting the field when there were still starting requirement; 4) the legalization of cordless include: and finish lines. motors on vibraphones; 5) the realignment of • Anaheim Kingsmen’s entire rifle show in • 27th Lancers’ big wheel in Danny Boy, score sheets as follows: brass, 35 points; the late 1960s and early 1970s. knowing that the rifles would be coming percussion, 30 points; GE, 30 points. • Boston’s Conquest. through doing double timing as the rest of the At this time, exposure and difficulty were • Blue Rock’s rifle line. corps began to move over, is when the intensity included in the scoring. Some corps began • Bridgemen’s “Salute to Mayor Koch” Big seemed to be at its highest. It also helped in appearing in competition without displaying Apple productions, Bayonne marching on their 1979 and 1980 that the flags were thrown the American flag, a sign of moving from knees. backward to each other in an arch right after the military to the more aesthetic spirit of • Garfield’s company front in 1969/1970 to the rifles came through. the 1980s. Gounod’s Queen of Sheba opener. Cadets’ Jim Anello added: “This same kind of One of the things that changed the most Z-pull. You saw it setting up and then out of conversation could very well apply to what a significantly in the 1980s was the size and nowhere, there it was. The Cadets’ dissolving corps was doing musically. There are all kinds construction of musical programs. In 1980, the company front in 1987; it was several seconds of examples of this, such as Spirit of Atlanta’s top 12 competing units were playing musical into the move before you realized exactly what opening statement of Georgia and their closer books that averaged five separate selections was going on and then, as you began to realize of Let it Be Me. (quite a reduction in number from the 1960s that they were reforming the thing, they would “In Georgia, they’d be going along playing at and early 1970s). draw it out to the very last second, making you roughly mezzo forté and you knew they were Pop music of the day continued to play a wonder if they were going to get everyone in going to very shortly hit you over the head with prominent role, as it had at the close of the place before the final chord. that big fortissimo. In the closer, they had that 1970s. Spanish music was still the hottest • Cavaliers’ dragon. big push as the corps played fortissimo and thing in drum corps and was heard in classical, • Hawthorne Caballeros’ pinwheel on the marched to the downstage edge of the field. musical (Broadway) and jazz formats. 50 in their finales; you always knew that the Then the whole horn line would stop playing Blue Devils captured their fourth DCI 136

wHite kNiGHts, Baltimore, MD (1966). st. raPHael’s mariONettes, Bridgeport, CT (1966). HOly rOsary CaBallerOs, Providence, RI (1966). Photo by Moe Knox. Photo by Moe Knox. Photo by Moe Knox. championship in five years, as the activity’s top (or maybe glad it was over) because he jumped And in 1980, the Bridgemen presented Maynard brass line ripped through some challenging into the air after the solo was finished. He won Ferguson in concert. music including New York Fantasy, Free and I&E with a score of 99.00, in 1980 playing A tragedy took place in July, 1980, when La Suerte de los Tontos. They played on four Flight of the Bumblebee, one of the best contra Spirit of Atlanta’s brilliant music arranger, Jim concert timps set on the 50 within the limits solos ever. Ott, was killed in an automobile accident. It of the field. The Lancers’ concert also featured jazzy, has been said that “Jim Ott could do with brass The timpani required a small truck (named dancing contras and the guard featured a arrangements what Michelangelo did with the Jerry’s Folly) to deliver them to and remove horizontal flag toss. The contra line kneeled Sistine Chapel.” them from the field. Although positioned to do down and swayed back and forth during On the In this year, Jim’s incredible arrangements a Rockford file for the first time ever, their 20th Century, as well as at the end of the drum were being played by Spirit, Hawthorne guard movements were deceptive and simply solo. During the drum solo on the 50, the Caballeros, Madison Scouts, Americanos, Blue passed the four converging lines through each contras turned their backs to the visuals and, at Stars and several others. Spirit included other. Their guard equipment included white the end, turned around to the front and jumped Georgia On My Mind and Let It Be Me in their cobweb flags and long red, hand-held on each others backs with the lightest one extremely emotional finals show during which streamers. The Blue Devils began cultivating standing on top making a pyramid. they paid tribute to their beloved arranger. their outstanding soloists with their 1980 show. In 1980, the contra line stood behind the For years the story has been passed along The new music of the 1980s demanded guard’s 50-yard-line flipping and six of them that Spirit’s horn line of 1978/1979 and/or 1980 advancement in drill design and made the pyramid; in 1981, they did the (the “wall of sound”) shattered glass. Whether maneuverability and 1980 was a year of major pyramid in front of the guard. When the corps or not it was true, the corps felt a need to post a experimentation with drill. Almost every major exited to Danny Boy in 1980, the crowd stood warning on their podium reading: “CAUTION -- corps attempted geometric, flowing patterns and clapped so loud that the music could barely High Intensity Noise -- Hearing Protection and shifting the axis of rotating formations and be heard. Required.” it saw ever-more-daring airborne equipment Frank Dorritie commented that “The 27th Spirit’s drum major did a foot chopper with work. Lancers and Danny Boy in the summer of 1980 a flag under the rifle line and the rifles had As the visual designers gained more control were nothing short of exquisite.” long, multi-colored ribbon streamers hanging of the judging sheets, drum lines were The 1980s were also the decade of the prop. from the inside of their sleeves, which were integrated into the visual fabric of the show, In 1980, the Bridgemen came to Legion Field in used as flash color in a concert dance and in which sometimes resulted in a lessening of Birmingham, AL, with a “poor man’s” circus in creating patterns in later drill. The soprano technical demand. Thunder and Blazes (“poor” only when solo at the end of Sweet Georgia Brown During George Zingali’s early association compared with the elaborate circus of the 1987 included Dixie. with the 27th Lancers, he dared to move the Star of Indiana), but very rich in entertainment. The Phantom Regiment of the early 1980s drum corps away from the 50-yard line, which The crazy, fun features were held over from has been described as “brash and beautiful, with signaled the beginning of the end of the the 1979 show, but the quality was improved in a deep and haunting bass sound.” In 1980, domination of the 50. the 1980 version. Phantom presented a rather ethnic and In February, 1980, the 27th Lancers made The Bridgemen’s circus had costumed passionate musical program, opening with the the drum corps activity proud, as they had a animals and clowns. The assistant drum major Russian Easter Overture, followed by Romany prominent role in the opening and closing wore a duck suit and was known as “Bernie the Life, “Polovetsian Dances” and “Masquerade ceremonies of the Winter Olympics at Lake Bird.” The drum line walked over the clown Suite.” Placid, NY, where they presented “Folk Song line, four guard members were jumping within They advanced their excellence in the Suite,” Danny Boy and Brave New World and around four moving sticks and four sexy marching caption, as their drill featured Fanfare. ladies were doing the jitterbug during the Big squares, arcs and a company front all revolving The 27th Lancers were the first corps from Noise from Winnetka concert number. at once, three parallel lines rotating into an “I” the East to finish in the top three, taking During the drum solo -- The Pursuit of the during the drum solo and their horns walked second place (their highest finish ever) in 1980, Lady, aka The Pursuit of the Woman with the through a kneeling flag line. with a very colorful show. The competitive Feathered Hat -- the horn line did what came John Brazale was one of the earliest drill show was basically held over from the year to be known as the “Bridgemen shuffle” -- a writers to go asymmetrical as the Phantom before, but improved greatly and the drum solo kind of quick gallop-type step with the left foot Regiment presented some asymmetrical drill changed from Take Five to New Country. hitting on each downbeat and the right foot patterns in their closer, “Carmen Suite.” During the Open Wide concert, Cliffy White “skipping” in between, while the arms swung Madison continued to please the crowd with played his contra along with the soprano back and forth. a musical program arranged by Jim Ott, soloist; very rarely has there been a contra solo This move was used in other years as well, including Malagueña and Through the Eyes of of this magnitude or length. He “sang” on the up until the corps folded. They also played a Love (Theme from “Ice Castles”) and a visual contra like it was a soprano (bugle). He must full music and drill piece, In the Stone, and program in which a powerful 62-man horn line have been pleased with his finals performance closed with a “War Between the States” feature. used full-sized flags while the 34-member guard 137

Pav raNGers, Lowell, MA (1967). statesmeN, Everett, MA (1967). miami vaNGuard, Miami, FL (1966). Photo by Moe Knox. Photo by Moe Knox. Photo by Moe Knox. went to rifles for a huge full-corps guard twice corps during their concert, Tiger of San Pedro. of the corps and they performed what might be in the show, at the end of the opener and Music was arranged by Larry Kerchner and the called a “Rockford Circle” (rather than file). during the drum solo. drum solo arranged by Thom Hannum. The The Guardsmen began with a huge sound in At one point, everybody in the corps except “Superman” medley was said to have an their opener, “The Sea Hawk.” This corps the drum line was twirling something. At the asymmetrical drill, written by Tony Smith. marched with a majestic style and ended with end of Malagueña they went to all flags. Judges didn’t know where they should be their traditional closer of Greensleeves. Their The Santa Clara Vanguard was ahead of its positioned on the field. entire color guard laid down during their time with their 1980 show. Off the line they Richie Tochterman of the Yankee Rebels production number and the rifles were thrown started in the upper right corner, brought it wrote, “The ‘Superman’ medley was awesome. over eight yards to the line on the other side of forward and pivoted around. In the old days, The first segment was so eerie it sent chills up the center flag line. Their guard’s fabulous the corps would have moved to concert and down my spinal column. Also, the capes equipment work would carry over into their formation and played a turn, but not move. In were so long that when the corps faced winter guard for years to come. 1980 they moved the form twice. backfield, it looked like everyone was floating Until this year, Santa Clara and the Blue An asymmetric show design accompanied across the field. It was one of the most Stars were the only two corps that had been in the concert of “Evita” selections in which impressive effects I have ever seen.” the top-12 every year since the inception of bedposts were used as rifles and, during one of The Cavaliers’ show was packed with thrills DCI, but in 1980, the Blue Stars failed to make Fred Sanford’s all-time greatest achievements -- as the guard repeatedly brought the crowd to finals for the first time, dropping to thirteenth, the drum solo based on Stone Ground Seven -- its feet with numerous airborne equipment leaving Santa Clara as the only corps to have the corps made a six-pointed star of ribbon tosses; they tossed flags over the entire grouped been a DCI World Finalist every year. centered in a revolving and moving circle. brass section, the rifle squad twirled two rifles The Troopers executed a full color There were two tenor lines, one high-pitched at a time and the corps left the field in an presentation during Shenandoah and the guard and the other somewhat lower. expanding arc, with a re-entry featuring the flashed individual red, white or blue flags. They In a radical visual departure, the corps rifle line tossing flags to the flag line behind an used steel drums in their concert, Central Park attempted to introduce a complex new drill advancing horn line. by Chick Corea, and also in their closer, Ecstacy form in their “Planets” production number, Their music included Esmerelda Suite, a of Gold, and Ghost Riders in the Sky. during which small circles moved around the popular Sing, Sing, Sing, Sambandrea Swing There was a multitude of entertaining field with their various brass voices responding and Softly as I Leave You. features in nearly every corps. A few of these: to each other. One of the most pleasing and memorable the Freelancers entering the field in a block Pete Emmons and Dave Owens had designed moves the Cavaliers ever did was the horn line formation and shouting “play ball” just before actual pictures that were asymmetric as well as pausing and then stepping over the guard the starting gun, Sky Ryders and Malden the movement in and out of them. At one point during Softly as I Leave You. The performance Diplomats using a Muppets theme, Imperial in the show, a “V,” arcs and four straight ranks ended with the rifle line somersaulting to the Guard featuring a lively conga line during the were all moving simultaneously. front of the field and the brass players drum solo, Westshoremen forming a heart This change of drill style was difficult to performing their finals notes. while playing What I Did for Love and releasing comprehend in 1980, when non-symmetrical Garfield entered from the right end of the pigeons at the DCA championship and pictures and staging were uncommon. It field with a small circle surrounded by a square, Skyliner’s horn line doing a domino-style pushed the Vanguard out of the top-three (to surrounded by a circle. In concert, they collapse to end New York, New York. seventh place) for the first time since the presented a very young man with a horn, DCI released the first “State of the Art” inception of DCI. standing on a box marked “Jr.,” pretending to album which featured the Blue Devils and Many times during the season the judges play a difficult solo. The production number, Santa Clara in concert, professionally were heard to say that they did not know how Elk’s Parade, was played in true Garfield recorded at the Concord Pavilion for the to judge this show. Thus, it appears that tradition and was a fan-favorite. Like Madison, Performing Arts. innovations in drill could be even more risky they also closed with Through the Eyes of Love. 1981 than changes in the music at that time. But North Star’s famous “chrome wall” snare Winning musical program played by the the corps stuck with it and the next year they line led them to a high percussion score. Their Santa Clara Vanguard: Northridge, Young came back to win DCI. Their asymmetrical musical program, which featured several stellar Person’s Guide to Drum Corps, Slava model led the way for shows of the future. soprano soloists, included “Children of (Bernstein), Don’t Cry for Me Argentina. The Crossmen were rebounding from their Sanchez,” Still and Olé. Most notable was their Most played selection: “A Chorus Line.” thirteenth-place finish of 1979, with a strong famous soloist with stamina, Jerry Noonan, Other selections played by multiple corps: accent on Spanish music, which included who, in his age-out year, hit lots of double “Cs,” The Greatest Love of All, the main Theme from Pictures of Spain (opener), Spanish Fantasy “As” and “Gs” throughout the show and really “Ice Castles,” New York, New York, Birdland, (drum solo), Jack Miraculous (production) and screamed at the end, going up to a triple “D.” It “Annie.” closing with a “Superman” medley. was an emotional moment for everyone. For the first time, the top six corps scored in Their guard formed a heart around the The drill included a move to form the logo the 90s. Following the lead of the 1980 Blue 138

New yOrk kiNGsmeN, Bronx, NY (1966). smitHtOwN FreelaNCers, Smithtown, NY (1967). kiNGstON iNdiaNs, Kingston, NY (1966). Photo by Moe Knox. Photo by Moe Knox. Photo by Moe Knox. Devils and Oakland Crusaders, other corps had In 1981, the Phantom Regiment developed During their opener, Explosion, the grounded percussion on the 50. an outstanding production based entirely on Crossmen’s first sopranos reached over and Making a dramatic comeback from a Aram Khachaturian’s “Spartacus” ballet. The played each other’s horns. They were one of the disappointing 1980 season, Santa Clara program was presented with an outstanding corps that had their tympani placed stationery Vanguard was the only corps in DCI history to percussion section and a great deal of emotion on the 50. They also had an eleven-year-old win the championship even though not being and was popular and challenging enough that it soprano player, Greg Morris, who placed second in the top six the previous year. would return in an improved form the next in I&E with a score of 90.50. Standing still he This would be the third time the corps had season. had an awesome sound. won with Young Person’s Guide to Drum Corps With this program, the Phantom Regiment Spirit played another Southern program in its repertoire (1973, 1974, 1981). Pete advanced the total show concept that Garfield which included Old Man River, Devil Went Emmons’ staging allowed the viewer to see and had started 10 years earlier with their Down to Georgia, You are the Sunshine of My hear the musical voices at the same time -- thus “Revolutionary War” show (when they also Life and Let it Be Me. becoming another major influence for the passed out program notes in the stands), and This year the Cavaliers moved from Park future. created a spark that would ignite a new era of Ridge to Rosemont, IL, where they would be Santa Clara won top guard this year without musical production. financially well-supported in the future. They standard weapons. Instead, the guard The term “total concept,” which earlier had had a drum set on the field in Sing, Sing, Sing, equipment included hoops, flags and bedposts. referred to a synergistic blending of all the played by their drum major, Dave Flynn. They In the 3 vs. 2 meters of YPG, bedposts were elements of performance (drill, music, etc.) for closed with their traditional Softly As I Leave used for the fastest tempi, small flags for a unified whole, now took on a new meaning -- You feature. Their very entertaining show medium tempi and tall flags were used for slow that their complete presentation would evolve brought the house down even though they only tempi. from a series of unrelated pieces to an entire finished in tenth place. What was most impressive was that the show devoted to a single idea or theme and, in The Freelancers also played You are the corps performed YPG with just one drum major Phantom’s case, a single piece. Sunshine of My Life and the Troopers took conducting both pulses (i.e., 3 with the hands, This new total concept show would become twelfth place with a program similar to that of and the duple -- 2 -- pulse mark-timed with his the desired standard by the end of the decade. the 1980 season. feet. In the attempt to portray this larger idea, some This is the year that Suncoast Sound joined The hoop choreography, designed by Lenny shows would also become more emotional, the ranks of the top-25, finishing twenty-first Kruszecki, was used effectively in Bernstein’s eventually leading to the deep symbolic and closing with The Greatest Love of All. Slava and this year Santa Clara brought an end meaning shows of Suncoast Sound. 1982 -- DCI’s 10th Anniversary to the 27th Lancers’ domination of the color Many will remember the ENORMOUS bass Winning musical program played by the guard award (which had lasted from 1975 drum (named “Big Bertha”) which Phantom Blue Devils: T.O., Pegasus, Paradox, One More through 1980, tying with the Santa Clara guard used for “Spartacus.” It was a Ludwig 40” Time Chuck Corea and People Alone. in 1978). A surprise occurred when the corps concert bass drum. Most played selections: Come in from the members turned the black stripe on their jacket The other four drums used were 24”, 26”, Rain, On Broadway (tied). to a white one. 28” and 32” by comparison. Actually it had Other selections played by multiple corps: In their own laid back jazz style, the Blue been used from 1977-1979 and its last use “Fame,” New York, New York, You Are My Devils performed an original composition by would be in 1984, when the pit was developed Sunshine. Wayne Downey, New York Fantasy, followed by and the concert bass could be placed there. The Although a number of corps were grounding Ya’ Gotta Try, La Danse Bonheur (drum solo), fellow who had carried “Big Bertha” was a folk their tympani and keyboards on the 50 within One More Time Chuck Corea (a medley hero to bass drummers. the limits of the field as early as 1979 or 1980, combining tunes of Chuck Mangione and Chick The Bridgemen took up where they had left 1982 was probably the first official use of the pit Corea) and Dindi. off the previous year, playing three of the same as we know it, i.e. grounding in an area outside The Madison Scouts performed Louie selections. Their music from “West Side Story” the limits of the football field. Belson’s Numero Uno, Malagueña, Downwind demonstrated that they could be dramatic as Tom Day, Cavalier alum and co-founder, and, for the second of three consecutive years, well as humorous. They tried to time the along with Don Porter, of the Anaheim they played their popular closer/ballad, the gunshot that killed Tony to coincide with the Kingsmen, made the following observations Theme from “Ice Castles. final timing gunshot. Bridgemen won high about the pit: “The pit made percussion equal The 27th Lancers had a complex drill that drums in both 1981 and 1982, but the corps to, if not more visual, than the brass. The pit kept moving and changing during their musical finished sixth and eighth, respectively. has taken away some of the sideline show from program of Crown Imperial, New Country, The seventh-place Garfield Cadets were on what was once known as the guard. Niner-Two (a favorite drum solo) and Greatest the rise with a strong horn line and a fun show, “I now call this section ‘the visual Love of All. The guard had an abundance of which included Adventures in Time, Fire Dance performance section,’ or ‘the flag art unit.’ The tosses, but finally lost the guard award to and Pieces of Dreams, and they also pit became a must-have by all the big corps and Santa Clara. experimented with asymmetry. was one of the financial ‘I-can’t-afford-that’ 139

Carter Cadets, Bronx, NY (1967). GOldeN kNiGHts OF HOPe, Providence, RI (1967). trOuBadOrs, Trumbull, CT (1967). Photo by Moe Knox. Photo by Moe Knox. Photo by Moe Knox. items of smaller corps trying to keep up with this first season of their rise to prominence, the Most people think the Z-pull began in 1983, the Joneses. third-place Cadets, developed a relatively however, Brian Wilkie, who marched in Garfield “However, today there is still one of the unexplored musical book consisting of in 1982, provided the following information: greatest corps in the world that performs Gershwin’s “Concerto in F” (which “The first incarnation of the Z-pull was in 1982 without a pit. They can still pack a stadium and subsequently gained widespread popularity in at the end of ‘Concerto in F.’ It wasn’t the full they still give clinics. A collection of the most drum corps and winter guard), Ron Nelson’s blown 1983 ‘Z,’ but THAT move was the birth of talented players in America -- the United States Rocky Point Holiday and Gershwin’s Cuban the Zingali signature move. Marine Drum and Bugle Corps from Overture. “We spent an entire rehearsal playing with it Washington, D.C.” These three pieces, with their driving and to see if it could become the full ‘Z,’ but it The Blue Devils won all 23 contests they varied tempos, perfectly matched the new and didn’t work out. I was at the end of the line on entered in 1982, becoming the first world radical style of marching introduced by Garfield side #2. He (George) didn’t forget it the next champion corps in DCI history to post two in 1982. Although people remember 1983 and year and made it work for the end of Rocky undefeated season (the other one was in 1977). particularly 1984 Garfield, their 1982 show was Point Holiday.” This was the first finals where all twelve corps really the tip of the iceberg -- an omen of what The Phantom Regiment brought back scored over 80 points. would lie ahead and with this show the Garfield “Spartacus” for a second year, with an Dr. William De Journett has cited the 1982 Cadets moved up two spots from prelims to outstanding staging of the horn line and the Blue Devils as possibly the single greatest drum become a first-time contender. color guard acting out the story of the slave corps of all time. He described it as well-put- The drill had everything one could imagine more clearly. With their 1981 and 1982 shows, together, with a nice soprano line that had and it was put together in a fabulous way. the Regiment gave audiences their first taste of exciting licks. Cuban Overture was amazing in terms of true pageantry in drum corps and it signaled a All year the Devils had been throwing in a marching, body movement and style and Rocky leap in show design. verbal “huh” during a percussion-only backfield Point Holiday signaled the beginning of the “Spartacus” had one of the greatest off the move and throughout the entire season they fast-paced drills we know today. lines ever -- the first note hit you like a stinging had sustained a penalty for this. However, the Although it is the 27th Lancers (and George jab, nearly powerful enough to knock one over. instructors had the corps do it several times Zingali) that should be credited with the In 1982, they had a marching warm-up with with the crowd at practices and eventually the introduction of this new marching style, it was a drill. From the stands, they came on to the crowd was familiar enough with the part that the 1982 Garfield Cadets (and George Zingali) field from the left in a triangle-type formation, they would hit it right on cue. that sold it to the masses. Early in the season, spread it out, did the Roman Legion salute to At finals, the horn line remained silent, the new Garfield Cadets appeared with a the audience shouting “Hail!” then turned allowing the crowd to participate in the striking new way . . . of running. toward the back and marched and played the performance, which enabled the corps to avoid During Zingali’s first year with the Cadets, warm-up until they got to the starting line the penalty without sacrificing the effect. he tackled some tough transition issues, made formation. The warm-up tune was probably This was a rather explosive year for musical them work and moved forward. His technique taken from “Spartacus.” repertoires. Although works of American of reshaping -- how to move from one form to This was not the first time they had a “show composers like Bernstein, Copland and another, was probably the major change that before the show,” i.e. music and drill which was Gershwin had played a recurring role in drum opened up new possibilities more than any kind of a pre-warm up. Even back in the 1960s, corps programs, now they were brought to other because it allowed the corps to move from the Regiment had a mini-routine to warm up prominence by two major corps, the Garfield set to set in an asymmetric way and to be able before they competed. Cadets and the Santa Clara Vanguard. to interpret music with the phrase. They played a portion of the march In an emotional show, the Santa Clara Since asymmetric drill is always changing, it Phantom Regiment, originally composed by Vanguard played Bernstein’s Slava and closed could be used to constantly interpret the music. Leroy Anderson in 1951. However, Cliff their show with Copland’s “Appalachian And excitement would often result from Richmond clarified: “In 1962, the old Phantom Spring,” a selection that would become the first apparent chaos suddenly turning into a Regiment used Phantom Regiment March as in a long line of Aaron Copland productions. beautiful form and then it was gone as quickly their off-the-line piece (at that time there were There had been rumors all summer that as it appeared. no on-field warm-ups).” Circa 1978, 1979, they would put in the bottle dance at finals. When Garfield came out with their 1982 1980, the Regiment used a warm-up drill with And they did, creating an uproar in the visual program, it was astounding. At first the Phantom Regiment March as the horn audience that drowned out the corps’ ability to Zingali’s new concepts made people feel warm-up. hear itself. They ended their performance with uncomfortable. It took only a year for the The piece had been played by the Syracuse one side of the corps several counts off from the drum corps community to accept the new wave, Brigadiers in 1956 and in the 1960s it was other side. but in 1983 it would reign supreme at DCI played by the St. Mary’s Majestic Knights, St. The drum corps activity was rediscovering Finals in Miami. Once the activity realized the Kevin’s Emerald Knights, Andrew Johnson the music of one of America’s most beloved major advancement that had taken place, other Presidents, Blue Rock, Staten Island Lawmen, 20th Century composers, George Gershwin. In corps tried to copy Zingali’s style. Blessed Sacrament Golden Knights, 32nd 140

dukes, Marlboro, MA (1967). BarONs OF steuBeN, Corning, NY (1967). dON JuaNs, Cambridge, MA (1967). Photo by Moe Knox. Photo by Moe Knox. Photo by Moe Knox. Hussar, Knickerbockers and the Belleville Black The Sky Ryders became a first-time finalist some outstanding drum corps alums. They Knights. with an outstanding, well-tuned horn line with performed in exhibition at EPCOT a couple of In the seniors it was played in the 1960s by excellent low brass and they featured a large times a day and at DCI Finals every few years. Albion Grenadiers, Bangor Yellow Jackets, trademark rainbow prop, which they unfurled 1983 Southern Tier Vagabonds and by the Yankee during their closer, Somewhere Over the Winning musical program played by the Rebels in 1972. Rainbow. Although this piece had “belonged” Garfield Cadets: Rocky Point Holiday and An unusual event occurred in 1982 when to the Cavaliers, it also fit the Kansas-based Sky selections from “Mass” by Leonard Bernstein. the Regiment and Madison tied at Drum Corps Ryders as well. Most played selection: Over the Rainbow. Midwest finals in DeKalb, IL. A rematch after The Cavaliers, who had been playing a Other selections played by multiple corps: midnight saw the Regiment storm onto the somewhat Spanish-influenced repertoire for For Your Eyes Only, Battle Hymn, Even Now, field, red capes flying in the wind, as they went several years, tackled the very difficult “Pines of selections from the movie “E.T.” to battle with the Scouts, over whom they were Rome,” as they began a conversion to more The Garfield Cadets became the first Eastern victorious. serious music. The guard featured their famous corps to win the DCI Championship, with an Jon de Silva, who marched Phantom that somersault rifle-catch. abstract drill that redefined the genre. The year, said: “The 1982 DCM run-off was my most Spirit of Atlanta finished a disappointing Cadets went undefeated all season, until exciting drum corps memory. The run-off twelfth place with a show of “happy” music prelims, when they tied the Blue Devils. There performance was the only time I could barely which included You Are My Sunshine, Oh was a huge 20.65 point spread between the hear my drum major on the starting line and he Happy Day, You Are the Sunshine of My Life first- and twelfth-place corps in finals. was only six counts behind me. The audience and Blue Rondo A La Turk. Their drum line For the most part, the musical repertoires of response was nothing short of outstanding. helped to earn them a finalist spot. 1983 fell into two distinct categories -- classical “Nobody left after the run-off was In 1982, Suncoast Sound had a good shot at and jazz. Almost no rock, country western or announced. The electricity was in the air that finals and some thought they should have had other standard musical category was night and we all felt it. It was a very emotional twelfth place. They performed with amazing represented in finals. performance for us. When we played the first energy and they were even more charged for However, the difficulty of selecting a new or note of “Spartacus” at fff and were still the next year. varied repertoire each year did bring about the overpowered by the crowd, that just pumped us This would be the beginning of an intense appearance of some new species of music in the up even more.” rivalry between Spirit and Suncoast. From programs of 1983. For example, the cantata With their traditional strong horn line, 1983 through 1988, Suncoast and Spirit would Battle on Ice from “Alexander Nevsky” by Madison played Slaughter On 10th Avenue, continue to finish in consecutive placement Sergei Prokofiev, performed by Valley Fever, Strawberry Soup and Through the Eyes of (both within the top 12), with Suncoast edging and Concerto del Rodrigo as the Crossmen’s Love. out Spirit four of the six years (1983, 1985, drum solo. The 27th Lancers continued their traditional 1986, 1987) and Spirit placing higher in two of The music of Leonard Bernstein had long British theme with “The Sea Hawk,” “Gaite the years (1984 and 1988). been a part of the drum corps activity, probably Parisienne” and the return of Danny Boy. The This was the final year corps fans were able beginning with “West Side Story” in the early corps may have experimented with to hear one of the great drum corps soloists of 1960s, continuing through “Candide” in the trombone/bari/euph mutants. all time. Greg “Harpo” Blum had been the 1970s and progressing to Slava! in the early The Crossmen played Artistry in Rhythm soprano soloist for the Colts where he started 1980s. and their version of Russian Christmas Music marching in 1976. During the summers of A substantial portion of the Garfield Cadets’ with arrangements by Tony Yaklich. This was 1980, 1981 and 1982, he became famous for his 1983 program was devoted to Leonard the first year they had a girl in the snare line. rendition of Summertime, arranged by corps Bernstein’s “Mass,” suggested to them by “She had what it took to play with the boys.” director Jim Mason, who would later become Michael Cesario. And this is the year their outstanding snare director of Star of Indiana and “BLAST!” Bernstein’s “On the Town” was a production drummer Robby Robinson aged out. Each of the three seasons, Summertime number for the Santa Clara Vanguard, along The Bridgemen won best percussion for the appeared in a slightly different version. with “Appalachian Spring” and the Dream third year in a row, this year playing their Audiences were blown away with Greg’s high Sequence from “The Red Pony,” both by the famous Black Market Juggler as drum solo. squealer notes, which were clean and clear. Not American composer Aaron Copland, whose Their Shaft opener is a favorite drum corps to be overshadowed was their outstanding music has profoundly influenced the drum and “groove” and their “Broadway Medley” closer baritone soloist of the period, Dave Lang, who bugle corps activity. has been called one of the best drum corps marched with the Colts from 1979 through the This American influence brought a new medleys of all time. 1985 season. flavor to the activity and eventually a new With a fine horn line, the Freelancers played In 1982, North Star marched eight bass champion in 1983 in the Garfield Cadets, an enjoyable, straight-out drum corps program drums in a very large percussion section. signaling the start of their three consecutive which included You Are the Sunshine of My Future Corps was formed at EPCOT where DCI wins and the beginning of a dynasty. The Life, Genji and Even Now. they performed through 2000 and employed new Bernstein music was so well-received that 141

emerald statesmeN, Rochester, NY (1967). CastlemeN, Paterson, NJ (1967). vaGaBONds, Stratford, NJ (1967). Photo by Moe Knox. Photo by Moe Knox. Photo by Moe Knox. the Cadets would continue to build Thus, the East led the way to using the total their entire program, “The Defiant Heart,” was championship after championship upon it. field in the total concept show, i.e., the sliding, based entirely on the music of Russian The 1983 Cadets’ show was both innovative massive drills of the 27th Lancers, the ultimate composer Dimitri Shostakovich, with a visual and entertaining, with Rocky Point Holiday scatter drills of the Garfield Cadets and their and musical portrayal of his life of artistic being an all-time favorite symphonic piece. magnificent “Z-pull,” which brought to a close oppression in a Communist regime. This selection, along with Bernstein’s “Mass,” three consecutive championship seasons (1983- One highlight of the 1983 program found 18 made for a revolutionary show. 1985). snares appearing out of nowhere and some Beginning in 1982 and particularly in 1983, The Blue Devils had a strong percussion form of the box cross-through would become a the Cadets became a constantly moving sound. section (“the new wall”) and excellent soloists. Regiment trademark each successive year Sopranos here, mid-voices there, lower voices They opened with a feature that had them through 1992. on this side and then they moved around to just moving from a ray to a spiral and then to a In a transitional year, Madison sported new the opposite. Occasionally a section would stop circle within the first few beats. Their music uniforms, made a great use of dance and took a and play a tough lick, but usually the rest were included T.O., Pegasus, Everybody Loves the detour into the classical music field. Their on the move. Blues, Paradox, One More Time and A New opener was the Colas Breugnon Overture, an One former member said, “In the good old Beginning (arranged by Wayne Downey and extremely difficult work. Their concert, days, we ‘parked and barked,’ ‘planted and Jack Meehan). Strawberry Soup, featured incredible solo work played’ and attempted to tear the house down In 1981, the Santa Clara Vanguard had including one of the highest notes ever heard in the concert number.” opened their championship program with a on the field and Memory from “Cats” closed a Credit for elimination of the concert band composition, Northridge, and in 1983 two fan-favorite show. number may be due to the 1983 Garfield other difficult concert band pieces were played In 1983, Suncoast Sound made its first Cadets. In 1982, they had played the Cuban by two of the title contenders -- the Cadets’ appearance in finals taking sixth place. A Overture as a concert. “In 1983, the Cadets Rocky Point Holiday by Ron Nelson and the strong horn line played Aquarius, which started all that crazy drill that’s being done Santa Clara Vanguard’s “Symphony #3” by brought back memories of protests and police these days.” Vittorio Giannini. from the 1960s. Their closer, The Greatest Now the field was limitless, as all former With this program, Santa Clara expressed a Love of All, featured the guard providing a rules of drill design were off. Asymmetry rather daring attitude, executed with total control. special moment for deaf people by “signing” the than mirror images on the 50 prevailed. The Their closer, “Appalachian Spring,” created one words. The drum major played a baritone solo drill was mathematically calculated to of the prettiest moments of the season as the in 1983. precision, with one misstep leading to disaster corps ended going backfield and playing a very Spirit rebounded from their disappointing and possibly even danger to the individual quiet ending. They used steel drums in this twelfth-place finish of the previous year to marchers . An increased physical demand was show during the drum solo. take seventh place with an emotional show also placed on the judges, who often got The power of Russian or Russian-themed that carried out the musical repertoire of trapped in the fast movement. music was starting to appear more often -- Brothers of Bop, Blues in the Night and We Are Whole sections were scattered across the symphonic band composer Alfred Reed’s the Reason. field, eventually including even the traditional Russian Christmas Music in the programs of Spirit had a penchant for baroque music and blocked percussion. Imitators struggled with 1978 and 1982 Crossmen; Rimsky Korsakov’s there was a small baroque ensemble in the the new marching style, but could not quite Capriccio Espagnole by Santa Clara Vanguard middle of the 1983 Blues in the Night and the duplicate or master it. in 1982; and in 1983 in the all-Tchaikovsky soprano solo at the end of that tune, played by Now when Garfield marched the whole program of the Phantom Regiment. Hunter Moss, contained a snippet of their show without stopping, the creative people in The Phantom Regiment had always played trademark Dixie. the activity thought it was wonderful -- a classical music, but seemed to be in its element One of the most memorable features of this unique and crowd-pleasing concept. It was most often when playing music from Russian show was the flashbulbs that were activated new, it was fresh, it was Zingali. It set the stage composers. In 1983, they began a long sequentially by the horn line members with for other corps to attempt the same thing they association with the melodic music of paper clips during the drum solo, originally a did. After Garfield, no other corps could rest Tchaikovsky, bringing to the field his Kerry Livgren tune titled No One Together, but on their heels. Serenades, Capriccio Italien and the “1812 altered for the corps presentation to We’re All At the end of Rocky Point Holiday, the drill Overture,” in which the contest of the two Together, for obvious reasons. pulled a company front out of nowhere and clashing armies was vividly portrayed in the Sal Salas (of Madison and State Street spread it out across the field (the first complete drill. Review fame) came on staff as visual and color use of the now-famous Z-pull). And a new Still, in the many years in which the guard coordinator which would signal the signature move, which Dr. Bill de Journett has Phantom Regiment has taken second place, beginning of the Spirit color guard era. called “Let’s see what new and innovative way they have not played music of Tchaikovsky or The Freelancers’ kaleidoscopic drill kept we can get into a company front,” has even of a Russian composer; however, in the changing from large picture to small and then continued every year into the 21st Century. year they would finally tie for first place (1996) back again and the guard used curved flag 142

diriGO Jets, Portland, ME (1967). seNtiNelles all-Girl, Montreal, QUE (1969). BerksHire POm POms all-Girl, Pittsfield, MA (1965). Photo Moe Knox. Photo by Moe Knox. Photo by Moe Knox. poles. Their pop repertoire, played with a laid crowd loved the acrobatic guard with its Bernstein’s “ West Side Story.” back feeling, included Breaking Up is Hard to front-line equipment work. Most played selection: All Night Long. Do and Even Now. Kerchner’s unique treatment of Home on Other selections played by multiple corps: The Cavaliers celebrated their 35th the Range earned him a Grammy nomination, “Cats,” “Ice Castles,” It was Almost Like a Song, anniversary with an exciting, crowd-pleasing but it was disqualified later because the DCI Shenandoah. show that opened with an original composition, albums were not sold in retail stores, one of the The 1984 season marked the end of the tick Jade, written by former member Michael Boo, Grammy qualifications. system and, along with this, the disappearance and closed with “Pines of Rome,” in which the Both the Crossmen and the Knights of of the beginning and ending timing gun (it did huge red flags are unforgettable. Their move to Geneseo, IL, opened their programs with the not fit the new artistic direction). Almost any a more serious style of music would pay off in Overture to “Russlan und Ludmilla,” with the corps was good in 1984 and the top six corps the future. Knights featuring a very technical keyboard may have had the loudest horn lines ever. As in past seasons, the 27th Lancers’ part on the runs. The demise of the tick was replaced by the program was composed entirely of In 1982, the Knights had pleased the build-up system, thus drum and bugle corps British-themed compositions which illustrated audience with Larry Kerchner’s original were no longer penalized for mistakes made, the influence of British pageantry on the drum composition, Casals Suite, and in 1983 they but rather, with positive scores that rewarded corps activity. Presenting Orb and Scepter, played a beautiful closing ballad, Ronnie their achievements. This opened the way for “Camelot,” The Running Set, Sea Songs and Milsap’s Almost Like a Song, also arranged by new technical difficulty in music and drill and a Danny Boy, their precision-style guard moved Kerchner. wider range of creativity. away from its strict military tradition this year The Crossmen also played “Concerto del Corps experimented with ballet, modern to incorporate more of a dance style and they Rodrigo” and Russian Christmas Music. dance, jazz, classical music, asymmetric design changed the guard uniform to accompany this The Velvet Knights introduced their popular and unusual guard equipment -- all in the change. shark to the Miami audience. attempt to provide audiences with thrilling With the disappearance of the Guardsmen The San Jose Raiders’ use of non-traditional entertainment. Drum corps shows began to this season, the proud tradition of British music percussion instruments was a preview of things have messages and even morals, along with was handled entirely by the 27th Lancers and to come. In 1982/1983 they played Malo their total themes. would be picked up later by the Star of favorites Momotombo, Oye Mama and Dance to New terms were devised in an attempt to Indiana in 1989. However, the Guardsmen My Mambo, using a full Afro-Cuban and define what drum and bugle corps was would continue as a cadet corps into the 1990s Brasilian percussion battery, including 16 becoming, i.e., “art,” “art in motion,” “style,” and their winter guard performed into the late congas. “theme,” “entertainment,” “technique,” 1980s. The performers were primarily local black, “showmanship,” “expression” and “dance.” The Bridgemen wore red blindfolds and white, Asian and Latino kids who were Grand Another new term which indicated the move marched up to some roto-toms and performed Champions of the San Francisco Carnival in toward drill reflecting the music was “visual some great sticking maneuvers which drove the 1982, beating many authentic “escola de musicality,” although George Zingali’s view crowd wild in Black Market Juggler. This is sambas” from the U.S. and Latin America. might be more correctly termed “musical considered by fans to be one of the best Their color guards continued to rock WGI far visuality.” percussion features of all time and by its into the future, long after the corps disbanded. Thus, 1984 was one of the most creator, Dennis DeLucia, to be one of his best The performance quality of shows continued innovative years and witnessed a continued achievements. to increase. Emphasis focused on flowing, artistic growth of the drum corps activity as a Prior to this time, the Santa Clara Vanguard somewhat asymmetrical drill design. A trend medium for powerful expression. It was a year (and Fred Sanford) had been the leaders in was also developing toward more original of emotional highs and lows -- for example, percussion with a symphonic style, but now the arrangements of musical scores rather than the Santa Clara Vanguard’s elegance and Garfield’s Bridgemen became a new model for percussion previous practice of transcribing directly from explosion. Some began to speak of a with their “wicked” drum lines and smooth, music performed by popular jazz and rock “Hollywood” style of drum corps. cool attitude toward their work. musicians. The 1984 repertoires were as varied as in the They established the groove drum line and There was also a less clear cut of divisions previous year. Three American composers of this, along with their off-the-wall productions, between pieces and the drum solo was often the 20th Century, Bernstein, Gershwin and taught the drum corps world not to take itself part of another composition. Better quality Copland, continued to be favorite sources of too seriously -- their bass drums often arrived techniques were also yielding better recordings drum corps repertoires. “late” for the show. of drum corps repertoires. And 1983 was the The defending DCI Champion Garfield The Sky Ryders had a strong horn line, with first year that that PBS broadcast only the top Cadets performed what could be considered the emphasis on a warm-sounding low brass five corps live. definitive musical treatment of the Symphonic section, playing a jazz arrangement of Home on 1984 Dances from Leonard Bernstein’s “West Side the Range and their popular closer of Over the Winning musical program played by the Story” in 1984. Their explosion with this music Rainbow, arranged by Larry Kerchner. The Garfield Cadets: Symphonic Suite from formed a unified artistic whole of beauty, 143

reGal CrOwNsmeN, Cranston, RI (1967). yOuNG ameriCaNs, Newport News, VA (1967). liNdeNaires, Lindenhurst, NY (1966). Photo by Moe Knox. Photo by Moe Knox. Photo by Moe Knox. complexity and phrasing, tied together by the major changes this year, e.g., a new uniform Bess” and Blues in the Night, arranged by Ray varied, but stylistically uniform, visual and allowing female horn players for the first Baumgardt. Their outstanding soprano soloist, constructions of George Zingali. time. Their opener, Fanfare and Allegro, got Hunter Moss, played some unreal soprano solos It was a complete show, stamped with them off to a rousing start. They had a with lip trills. Garfield trademarks, with strong showings in powerhouse baritone line and their drill had a Spirit’s soloists every caption and a complex one in both music beautiful and captivating flow Spirit member Alan Armstrong recalled: and marching. Despite the extraordinary speed Presenting another program of Russian “There were multiple solos in 1983 and 1984. and complexity of the breakthrough drill design music, the Phantom Regiment qualified as a In 1983, I played a duet with a baritone in the that had individuals and the corps in constant massive brass orchestra with 68 horns and an opener, Brothers of Bop, and then the solo that motion, a sense of unity pervaded the entire array of percussive instruments. This everyone remembers was Hunter’s from Blues production and allowed for the development of instrumentation was used to play a very in the Night. Hunter played a scream jazz ride exciting climaxes that continually brought the difficult number, Prokofiev’s Scythian Suite, solo in the middle of that production. audience to its feet. executed by an outstanding horn line and “In 1983, we ended that production with a This show seemed a winner from the day it showcasing beautiful orange and gold brass quintet or sextet and a full-corps hit the field, featuring a spectacular color guard rectangular “door flags.” statement that followed. Mark Hoskins played that would receive the top award and the Armenian Dances signaled the first time the the beautiful mello solo in the exit, We Are the awesome horn line taught by Jim Prime and Phantom Regiment had played music written Reason. Donnie Van Doren. by a living composer, in this case Alfred Reed, “In 1984, Hunter and I had a duet in the One vibrant memory of this show occurred who came to Rockford and worked with the opener and I played the Ain’t Necessarily So at 1984 DCI Midwest Finals at Whitewater (very corps. Their totally awesome finale of solo next. Hunter and Mark Hoskins had a late at night) when a player tripped during a Tchaikovsky’s “1812 Overture,” with an trade ride between the opener and the middle classic Z-pull near the end of the show while 18-member snare line, brought down the house production of Blues in the Night which ended moving backwards, causing eight members of and the corps threw “kabuki” fireworks at the with Hunter playing a screaming cadenza by the horn line to fall down in a domino effect as end of the show. himself. they were also backing up and couldn’t tell The corps has been described as “just brutal “That is one of the finest examples of a what had happened behind them. All got up precision and incredibly loud!” drum corps soloist working the crowd that I’ve and made it to the final set on their feet, Phantom’s program demonstrated how ever seen. He had them in the palm of his hand proving that the show must go on! much drum corps percussion had contributed every night and he knew exactly how to play However, in spite of an excellent show until to opening up the ears to sounds and colors far them. the point of the freak accident, Garfield lost to beyond those of the conventional snare, tom, “We finished that production with a huge the Santa Clara Vanguard. There was no way a bass and cymbals. Every season seemed to chord from the horn line after Hunter played judge could say they were the best when some unveil a whole new range of techniques and the blues theme in the scream register. I can’t of them ended up lying on the field in the final instrument applications that influenced the tell you how many nights the announcer would form. bulk of standard marching bands as well. begin announcing us after that . . . only to have The drum line left without knowing that Particularly notable at this time were tuned us start with the hand bell feature to the exit anything had happened. As drum corps rumors discs and tuned gongs. and everyone having to sit down for more.” do, the story grew into a broken leg and a few The Scouts turned the energy level up a In one of the most emotional moments in broken teeth; actually only one horn player was notch, opening with Ballet in Brass, a piece DCI history, Suncoast Sound presented a on crutches for a week with a sprained ankle. they had played in the early 1960s and 1970s, profound and somewhat controversial Later, George Zingali gave them a short speech but this time using a completely different theatrical show based on the Vietnam era which made the corps feel better. “Now maybe arrangement and a palette of screamers. activism of the 1960s. It included a riot people will understand how difficult it is to do The closer, Memory from “Cats,” proved to between guard/protestors carrying “No Nukes” what you’re doing.” be a traditional Madison-style piece, quiet at signs and guard/police with clubs. That The other two American composers were first, then turning into a deafening wall of ended with a siren and an SOS call being represented by Spirit of Atlanta’s major sound and one of the outstanding re-entries in tapped out in the background as the police production of George Gershwin’s opera, “Porgy drum corps history. siren wound down. and Bess,” and the Santa Clara Vanguard’s Spirit continued to portray the bluesy In the middle of the show, during a very orchestral suite from Copland’s opera, “The tradition of the deep South, not only in the effective use of silence, the guard, on flags, Tender Land.” music they played, but also in the dancing that went to the back of the field and made a The Blue Devils’ guard was visually- the guard performed. The coed guard was company front. When the horns became silent, spectacular in their butterfly capes/bat wings divided into couples for most of the show, the guard laid their flag poles on the field end and the horns really shone in La Fiesta, giving an interpretive feeling to the to end. They pulled out a piece of fabric from providing a great soprano trio. performance. the length of the pole and the Vietnam The Santa Clara Vanguard sported some Music included selections from “Porgy and Memorial wall appeared. The guard then placed 144

CeNturiaNs, Berwyn, IL (1967). CatHOliC dauGHters OF ameriCa all-Girl, Butler, PA (1967). aPPlekNOCkers, Geneva, NY (1967). Photo by Moe Knox. Photo by Moe Knox. Photo by Moe Knox. placards representing grave stones in front of guard the opportunity to show off their The opening drill move started with corps the wall. Olympic flags. members scattered everywhere, but it came to The ballad ended with the corps behind the Other film music included Boston’s the traditional “prayer-block” formation black wall as a little girl wandered onto the field Conquest from the film “Captain from Castille,” conclusion. At DCI Midwest Championships on carrying a white balloon (representing Trooper’s “High Noon,” as well as “Star Wars,” July 23, Garfield played the “Candide” overture innocence) as she searched for a lost person. “Rocky” and “Raiders of the Lost Ark.” at an exhausting 218 beats per minute, but As the piece ended, she let go of her balloon The Velvet Knights presented a subsequently slowed it down a bit. and it floated away as hands slowly reached out crowd-pleasing show similar to those of the The new “build-up” scoring sheets were only through the wall. Bridgemen, earning them twelfth place in in their second year and corps were still finding The music which supported this symbolic finals. Everything was included in the show out how to create their programs to get the program included Six O.S., Aquarius, Requiem, from dancing to the “Jaws” theme with the land highest scores. The Cadets went all-out in 1985 I Don’t Get No Satisifaction and closed with shark. During All Night Long, the corps with a number of innovations -- an expanded America the Beautiful. The combined musical sounded like a stuck record and it (purposely) pit, mirrored percussion/brass voicing, and visual show communicated a political took them two attempts to get the company incredible to ridiculous drill velocity, multiple message so powerful that it required no written front to come together. meters . . . and they won again. interpretation or guide. At finals, many in the In 1984, Florida Wave became the only The “Jeremiah Symphony” remained a audience had their own white helium balloons corps in DCI history to perform all six nights of mystery to fans until the last two weeks of the which they let go at the moment the little girl finals week. season when it was revealed that the intent of let go of her balloon. 1985 the show was to symbolize building up Thc Cavaliers had always been a crowd Winning musical program played by Garfield beautiful things and then tearing them down. favorite, but over the years they had changed Cadets: “A Bernstein Portrait” including This led many of the top corps to have symbolic their style. Early in the 1980s, they moved to “Jeremiah Symphony,” Make Our Garden Grow, meaning in future shows. playing more serious music. In 1984, the corps overture to “Candide” (for their third successive This piece also signaled the beginning of had their highest finish since 1977, earning championship). esoterica in drum corps, which became eighth place which would continue to rise in Most played selection: Theme from “Ice contagious even to the smaller corps. Since the the next few years. Castles.” champion usually sets the trend for the The closer, “Pines of Rome,” was masterful The 1985 season was a big year for the total following year(s), it resulted in lower-ranking in its use of dynamics, along with a drill that concept program, as many corps were now corps playing abstract music that was often grew and red flags that just kept expanding. building their presentations around a single over their heads, both in technical difficulty and “Live from Sacramento, the Freelancers” musical composition. Works of this type are interpretation. opened their “Tower of Power” show with a wall often programmatic in nature, i.e., they have a In future years, it would almost become a of sound that included the guard members program or tell a story and are unified by a competition in itself just to see who could play playing sopranos wearing regular corps single thematic idea. the most abstract piece of music. In the 1990s, uniforms during the “Power Suite.” Even though these corps may not have both Star of Indiana and the Cavaliers would They had tear-away uniforms so they could actually dramatized the story on the field with win the DCI Championship with complex perform the rest of the show in actual guard the use of characters or props, they musical and thematic offerings. uniforms. Genji featured partner dancing. nevertheless put a great deal of thought and A sample commentary The closer, With You I’m Born Again, provided effort into presenting an interpretive program on the “State of the Art” a fabulous mood. of visual musicality, which contributed to While this new level of sophisticated music The Crossmen had missed finals in 1983 by elevating the drum corps activity to the level of may have pleased some of the intellectuals in a tenth of a point, but jumped back in 1984 to a a multi-disciplinary art form. the audience, it also led to average fan-talk tenth-place finish. The show was a Although his music was not as heavily about the artsy level of drum corps, the lack of combination of many styles of music, from represented this year as in the 1984 season, entertainment and cries for a return to the classical to Spanish, including Overture to once again the music of Bernstein continued to good old days. “Russlan und Ludmilla,” Conto el Viento and be the musical source for the Garfield Cadets as For example, here is the opinion of one fan, the hauntingly beautiful Let Me Try Again. The they won their third consecutive championship. writing at the end of 1985: “DCI Championship show began and ended in the same formation. In 1985, Garfield painted “A Bernstein contests began with enthusiastic fan response. There was an interest in film music this Portrait” (note this example of a program title; Thousands of fans filled the stands. The fans year, with the 27th Lancers playing an opener in the future nearly all programs would have a filled the air with thunderous applause and of William Walton’s “Henry V,” in keeping with name). The program opened with Bernstein’s unstoppable standing ovations. They left the their British theme. lightning-fast, complex, multi-metered stands singing and whistling the repertoires of Their percussion provided the biggest “Jeremiah Symphony” (Symphony #1), set in their favorite corps. The corps were surprise of the season and Eric’s Theme from motion by Garfield’s trademark high-velocity entertaining and exciting. The shows were “Chariots of Fire” gave their consistently strong drill and stunning brass. understandable. 145

stateNaires, Staten Island, NY (1966). marCHiNG amBassadOrs, Port Credit, ONT (1968). eau Claire BOys, Eau Claire, WI (1969). Photo by Moe Knox. Photo by Moe Knox. Photo by Moe Knox. “But something happened. Along the road themselves whether or not they want to expand Snow Maiden aloft on a round platform, where to 1985, the word ‘entertainment’ was replaced their horizons in the fields of music and visual she did a bit of a dance with a kerchief in hand. with the word ‘artistry.’ Designers and judges arts, because that’s really what we’ve done over At the end of the dance, she teased the Frost have gone further and further to achieve the the last five years -- just completely taken King with the kerchief and then ran off. artistry that the current system calls for. Music everything we can and then put our own “In both 1988 and 1989, the Phantom is becoming incomprehensible and dissonant. experiences back to the football field.” disappeared from his magical chair after being Drills have become Rorschach test patterns that In 1985, corps appeared to draw their music covered in a black (1988) or white (1989) cloth, never seem to begin or end. Shows have chiefly from three areas: modern classical leaving Christine holding his mask. The become exercises in esoterica. standards and lesser-known classical pieces, Phantom then reappeared, running from the “Fans no longer whistle a corps’ repertoire band music and music written for the left side of the field to the right. after the first hearing. They no longer leap to entertainment industries of television and “For 1989, they had large Phantom masks their feet spontaneously to react to the units on motion pictures. around the field. The horn line also wore their the field. Crowd reaction now comes from This season fewer band pieces could be own masks. The whole corps disappeared familiarity, not emotion. One applauds because found, although there was a good behind the large masks and screens and some ‘it’s the best they’ve done it so far,’ not because representation of contemporary classical works. under the Phantom parachute. Then they it is thrilling or exciting in itself. And there would be the first presentation of a pulled the parachute away and a large mask “This is not to say that drum and bugle musical repertoire written entirely for the drum magically appeared.” corps is not a better product that it was when corps arena, presented by Suncoast Sound. Experimenting with a new style and playing DCI started. On the contrary. Design, training Although he wrote some fine movie scores, music with a rock orientation instead of the and performance are far beyond that of 1972. the name Aaron Copland does not usually bring jazz idiom, the Blue Devils dropped to third One simply cannot compare a unit in 1985 with to mind film music. The Santa Clara Vanguard place with a metallic visual program as their one in 1972. The latter would seem from the had always favored Copland’s music and great horn line and top-rated percussion dark ages. had been dealing recently with many of his section powered through Liferaft Earth, “But these points still remain. Corps are not lesser-known works. Trilogy, a percussion feature of Carn Evil Nine, as entertaining as they once were. They are not In 1985, along with Shostakovich’s Festival Keith Emerson’s “First Piano Concerto” and Pat as entertaining as they could be. Overture, the Santa Clara Vanguard chose Metheny’s First Circle. “The questions must be raised: What is Copland’s compositions, Grover’s Corners from The auxiliary effectively used the huge drum corps’ purpose? Where is it heading? If “Our Town” and A Happy Ending from “The multi-colored butterfly wings throughout the the activity is for the purpose of advancing ‘art,’ Red Pony.” show. The program was not received as well then it is on the right path to the future. Corps Santa Clara’s magic tricks as they would have liked and the next year they designs are certainly artistic. Beginning in 1985, the Santa Clara returned to a more familiar jazz style. “But if the activity is for the entertainment Vanguard programmed some magic into all of Again in 1985, there was a fine of those who pay to see it, then it is on the their shows through the remainder of the representation of Gershwin’s compositions. wrong path, for drum corps are not as 1980s. Thanks to SCV alum, Maggie Kelley, for The Madison Scouts, who had popularized his entertaining as they have been in the past. organizing these: “1985 was the beginning of Rhapsody in Blue in their championship year of “No matter what the style, fans want to get the magic. During the Festive opener, the 1975, returned this work to the competition goose bumps and elevated blood pressure so corps placed a giant tunnel in the center of the field, while Spirit of Atlanta based their they’ll stand up and cheer two or three times field; the horn members marched single file entire show on a full-blown production of during a performance. Most fans want to into one end wearing green pants and exited “Concerto in F.” experience a common type of emotional the other end wearing white pants and the Along with corps developing trademark response to all corps performances -- guard magically changed from long skirts to styles of music, they also developed trademark excitement.” shorter ballet-style skirts. sounds, a good example of which was Madison’s From George Hopkins “In 1986, they used the magic tunnel again sound in Ballet in Brass and Rhapsody in Blue, The Garfield Cadets’ director, George to change pants color. At the final push of The a crowd-pleasing show that was complete with a Hopkins, explained the corps’ philosophy in Great Gate of Kiev, a wizard levitated the Snow visual grand piano formation. 1985 and it was very revealing concerning what Maiden on a broom. The 1985 version of Ballet in Brass was has happened to the corps/activity in the “In 1987, they changed from Russian considered one of Madison’s best openers, with intervening 10 years (into the 1990s): “We costumes to their regular uniforms behind a very effective dance by the guard, wearing long realize it has been difficult for the public screen that looked like a Russian church. At white sleeves. A smooth show, a hot corps, a sometimes to understand completely what the end of the show, a magic box was brought great package. we’re trying to do, but we hope that, over time out and the Frost King made the Snow Maiden While many drum corps continued to move -- much like Santa Clara did in the mid-1970s appear out of nowhere. He then made a second toward the edge of the classical repertoire in -- people will learn to broaden their experience, girl appear. selecting their music, two corps made a move take a look at what we’re doing and decide for During Lezghinka, the Cossacks held the toward the center in 1985. 146

stardusters all-Girl, Pompton Lakes, NJ (1969). HamBurG kiNGsmeN, Hamburg, NY (1968). reilly raider-musketeers, Philadelphia, PA (1968). Photo by Moe Knox. Photo by Moe Knox. Photo by Moe Knox. The Cavaliers presented a superb and Film music scores were widely used this extremely popular theatrical performance of dynamic program based on the classics -- the year. There were entire programs devoted to “The Wizard of Oz,” designed by the young and opening fanfare of “Also Sprach Zarathustra” by this subject, such as the Sky Ryders’ production talented Tommy Keenum. Richard Strauss and four sections -- Mars, of “The Wizard of Oz” and the incorporation of This also brought a touch of Hollywood to Mercury, Uranus and Jupiter -- from Gustav many Walt Disney standards into the charming drum corps, as the first part of the show was in Holst’s “Planets,” a 20th Century work, for a repertoire of the new corps on the block, Star of black and white, just as in the movie version. fifth-place finish, their highest to date and Indiana. Their back-to-back “Wizard” shows were big signaling the Cavaliers’ debut into the elite The newly-developed corporate corps, Star audience favorites. ranks of DCI. of Indiana marched a fairly complex show to the The Bayonne Bridgemen celebrated The drill was full of big, bold geometric simple tunes of Walt Disney and were instantly “Christmas in July,” complete with costumed formations that formed, dissolved and then welcomed by the fans. They opened the show elves and a Christmas package, but the corps formed again. This show will always be with When You Wish Upon a Star, which folded at the end of the season. remembered for the use of 16 sets of Paiste red appropriately became their theme song. Other The Dubuque, IA, Colts marched 13 bass cymbals, symbolizing the red planet, Mars, and tunes included: Zip-a-Dee-Doo-Dah, A Dream is drums for the entire show. large red exercise balls. The auxiliary’s a Wish Your Heart Makes, The Sorcerer’s 1986 acrobatic and precise equipment handling Apprentice, a percussion feature of Who’s Afraid Winning musical program played by the elicited many ovations. of the Big Bad Wolf?, The Mickey Mouse March Blue Devils: Channel One Suite, Conquistador, Suncoast Sound became the first corps to (with singing) and It’s A Small World, with Spanish Fantasy, “Chick Corea Suite.” perform an entire program of original music in charming pictorial flags (e.g., featuring pigs and Most played selection: “West Side Story.” DCI Finals, with their breezy “Florida Suite.” wolves) to match the songs. This is the year that the maximum time The composer of this original work, Robert Star of Indiana was the first brand-new limit for a show was reduced from 13 minutes Smith, was discovered through his drum corps corps to break into the top-12 in its first year of and a lot of interesting music and quality was arrangements and compositions and went on to existence, taking tenth place, and it would being packed into an 11-minute production. become a prominent composer of music for improve its ranking every successive year until More and more concert band literature was concert and marching band. winning the DCI World Championship in 1991. finding its way into the repertoire, along with The very melodic movements, played by a The Velvet Knights presented a fairly sometimes forgotten classical material. Drum great horn line, were Simple Song at Sunrise, straight-forward show -- for them -- opening corps had moved a long way from the days Beach Frolic and Cloudburst Midnight in with the theme from “Peter Gunn,” followed by when marches were the norm. Miami. The corps made a sea-gull form on the NBC Chimes Festival, The Storm, Final In this year, with what is considered to be field, complete with moving wings. Analysis, Catching the Sun and a reprise of one of the best shows in DCI history, the Blue Spirit of Atlanta based their program on a “Peter Gunn.” Devils regained their crown over Garfield, who single composition, Ray Baumgardt’s The Freelancers presented a musically- and had won the championship three years in a row arrangement of George Gershwin’s “Concerto in visually-creative show, especially effective (1983-1985). They commemorated the tenth F,” in a rather successful departure from their during their closer when the horn players were anniversary of their first DCI Championship in normal musical fare of mostly Southern-style highlighted on portable risers. Their uniforms 1976 by playing Buddy Rich’s Channel One tunes. also had different colored fronts which they Suite and “Chick Corea Suite.” Like Spirit, the Phantom Regiment based could change from selection to selection. The entire show was awesome in its vision their 1985 program on a single musical The music was entirely from the French and complexity for the time. The Devils composition, Hector Berlioz’s technically composer Michel Columbier: Immanuel, The received a perfect 10 in brass performance with difficult “Symphonie Fantastique,” in which the Minotaur, The Island, The Forest and a very a tremendous amount of sound on two-valve corps marched to a waltz in The Ball move- memorable Bells. bugles and the corps used French horns ment. The 27th Lancers returned to their 1982 through the 1986 season. Audiences will also remember their visual opener, Erich Korngold’s “ The Sea Hawk,” but The percussion feature was considered one and musical March to the Scaffold. In 1985, they dropped out of finals to thirteenth spot. of the best to have ever been played. It had it only, they experimented with a new The rifles were doing front spins in perfect sync all, beginning with the rudimental demands instrument, the cellophone, whose musical as they marched single file from the backfield to and a tremendous snare book, then the feature voice was between a mellophone and a baritone. the front after the Danny Boy wheel, almost ended with back-sticking and flash work. And, like Santa Clara, the Troopers also exactly as they had done from 1975 through The Santa Clara Vanguard presented a programmed selections from Copland. Their 1977 and from 1979 through 1985. This was program of classical music, while venturing show included: Symphonic Dance #3 “Fiesta” the first year that 27th allowed males in their into the theatrical realm. The program was set by Clifton Williams and Copland’s “Symphony formerly all-female guard. at the period of time indicated on the front #3,” Buckaroo Holiday from “Billy the Kid” The Sky Ryders made drum corps history by sideline: “Kiev, Russia, AD 1901.” and “The Red Pony,” with brass charts by performing a musical story on the field in 1985 They played music to represent early 18th Jim Prime. -- and an improved version in 1986 -- of an Century Russia, i.e., Shostakovich’s Festive 147

eNField saBres, Enfield, CT (1968). CHOrdaliers, Milwaukee, WI (1968). eaGlettes all-Girl, Sandusky, OH (1968). Photo by Moe Knox. Photo by Moe Knox. Photo by Moe Knox. Overture and Mussorgsky’s “Pictures at an Spirit’s soprano soloists and then poked fun at musical and visual show, with loud brass and a Exhibition,” and they also wore appropriate themselves. This program was entertaining in a Garfield-style drill. The show opened with an costumes to set the mood of the show. humorous way, but it ended their consecutive ethereal fanfare of chilling dissonance. The killer opener created a wall of string of championships (perhaps because In spite of their move upward in the ranks, emotion. The guard revived their hoops again George Zingali was not with them this year). Star of Indiana did not find the same positive this year and this was the first year males were Suncoast Sound featured a highly technical audience reception (as in 1985) with this allowed in the guard. horn line in a sophisticated and difficult program, as it was somewhat lacking in In this and following years, the Cavaliers production of Stan Kenton’s “Adventures in emotional appeal. An entire, separate tractor- would explore 20th Century wind music Time”: Commencement, Quintile, Orion and trailer truck was required to lug around through such composers as David Holsinger, Artemis. Although they had a great horn line “Zingali’s folly,” giant backdrop gerbil wheels John Barnes Chance and Claude Smith. This in 1985, the 1986 horn line may have blown designed for this “spacey” show. The wheels year signaled a new Cavalier rise in that performance away. lasted for only one or two shows. sophistication, led by visual designer Steve They won field brass with a horn line The Sky Ryders returned with an even better Brubaker, who brought a flowing geometric (including an outstanding contra line) that “Wizard of Oz” show than in 1985 and for this beauty to the field, using what he called “sounded like there was a huge ‘sub-woofer’ they received their highest score ever and ninth “intersected form manipulation.” hidden under the drum major’s podium.” The place. This production may have been the top The Cavaliers presented an amazing drill competition between Suncoast and Spirit audience grabber in drum corps history, as it that showcased the genius of Brubaker, continued for a third year. Spirit was in fifth was not only identifiable and entertaining, it including the 1986 version of their famous place for semi-finals, but Suncoast beat them in was also presented in an emotional way. One of dragon, which would appear again in 1987, with finals. many memorable moments was when the witch a more brief appearance in 1988, 1989 and Spirit of Atlanta’s return to its Southern screamed, “I’m melting,” with quite a pair of 1990. The musical selections included roots placed them back in the top six as they lungs! Canzona, Variations on a Korean Folk Song rocked the crowd with awesome sound and an Between 1976 and 1984, the Phantom and Mars from “The Planets.” emotional “spiritual” guard presentation in Regiment finished no lower than fifth, but in There was a massive cymbal line and some Sweet Georgia Brown, Precious Lord Take My 1985 they dropped to eighth and in 1986 they courageous rifle moves. Their battery didn’t Hand and God’s Trying to Tell You Something. took a bigger plunge to tenth (horn line got play at all during the first part of Korean The male guard members took off their only ninth) with a show that harked back to Folksong. shirts during the drum solo, High on a Hill, by their traditions -- a combination of classical The creative, but unusual, program of the Kerry Livgren of Kansas fame. At the time this music and the military style that had originally Garfield Cadets was announced as the final was quite a controversial move. The entire brought them to the forefront of the activity. chapter in their exploration of the music of opening fanfare was based on Dixie and again The famous Rockford file” flag and rifle Leonard Bernstein (but they would still revisit there was a small baroque ensemble in Sweet production was one of the visual highlights of his music in the future). Using his only motion Georgia Brown. the show. picture score, “On the Waterfront,” and his With a straightforward jazz style, the The musical program was Carnival second score for the Broadway theatre, Madison Scouts presented Alex’s Rag and Duke Overture, Alborada del Gracioso and the Finale “Wonderful Town,” this show was labeled Ellington’s “Harlem Suite,” in which they from Gustave Mahler’s “Resurrection “Undiscovered Bernstein.” touched on a number of different jazz styles. It Symphony.” Dvorak’s Carnival Overture was They performed with a loud 80+-member was a great Madison horn line with strong one of the favorite drum corps tunes of all time. horn line and only 12 in the guard, who twirled baritones. Soprano soloist Morgan Larson’s The 1986 season may have provided a wake-up clarinets in “Wonderful Town” and created triple “E” was perfect every time. call that brought the corps back from the brink three “boxing rings” during “Waterfront” by Two corps, Star of Indiana and the Sky of disaster. holding poles that had fabric attached to all Ryders, made great strides this season. Star, in In their last year as a DCI finalist, the four corners. only their second season, moved up to eighth Troopers presented a program of Western and At a show in Allentown (when the field was place, featuring selections of John Williams’ patriotic music: American Salute, Silverado, wet), they had an encore of their all-fall-down scores, including Adventures on Earth from Prayer of Thanksgiving and Battle Hymn of the at Whitewater, 1984, when some of the corps “E.T.,” Conversations from “Close Encounters Republic. got tangled up in the winding boxes. (Garfield of the Third Kind” (played with 18 contras -- 6 Wearing white dinner jackets, the Velvet members will confirm that the all-fall-down euphoniums or baritones picked up contras for Knights presented music associated with James move by the Cadets has occurred numerous that section) and The Throne Room and Bond with charm, sophistication and class and other times as well, usually at practices.) Theme from “Star Wars.” The guard wore included appropriate spies, chase scenes and During “Wonderful Town,” the Cadets “fright” wigs. gun, but they did not depart from their comedic parodied trademark sights and sounds of other This year Star had hired several members of and entertaining tradition. drum corps, such as the Bridgemen’s yellow the Garfield staff (including George Zingali and 1987 coats, the Phantom Regiment’s tick-tock flags, Jim Prime) who had created a spectacular Winning musical program played by Garfield 148

NOrtHerNaires, Menominee, MI (1968). vaNGuards all-Girl, Seymour, CT (1968). viPs, Baltimore, MD (1968). Photo by Moe Knox. Photo by Moe Knox. Photo by Moe Knox. Cadets: “Appalachian Spring.” drum line was displayed in all its glory with enough substance and difficulty so that the Most played selection: Somewhere Out different section’s visual movements, from the show would peak at just the right time late in There. cymbal line to the part where the entire drum the season (something that Garfield had For a return to the championship in 1987, line takes a big sidestep after the last note is mastered years before, but something still the Garfield Cadets broke with their recent played and comes back. Also in 1987, Santa needing to be mastered by the Phantom tradition of playing music of Bernstein and Clara was the first corps to use flam heads on Regiment, a corps that was often accused of instead played “Appalachian Spring” by their snares (under the direction of Ralph being too clean, too soon). Copland. Sections of this work had been played Hardimon). With their power horn line, the Madison by many corps, but not until Garfield’s The Cavaliers repeatedly built up tension to Scouts took the listener and viewer through performance was the music put into such fast, a new high and then released the tension with several moods with their in-your-face opener, non-stop motion. music that included Claude Smith’s Festival “Captain from Castille,” then to Paris via “An Many fans consider this to be Garfield’s Variations, John Barnes Chance’s Variations on American in Paris,” followed by a wild “magnum opus” production. Throughout the a Korean Folk Song and David Holsinger’s arrangement of Stars and Stripes Forever, musical program, Michael Klesch’s brass Liturgical Dances. As always, the guard including simulated fireworks via huge scoring made use of the unconventional portrayed a masculine style. The garden rakes round flags. technique of passing musical lines into different used as guard equipment for the middle The 1980s was a decade of rapid change and horn sections, even within a single melodic number represented the Korean love of nature. innovation and the decade of the prop. The statement, as the notes of the melody or line Almost all of the Blue Devils’ 1987 Bridgemen had used props in their 1980 circus fell into the range of the various instruments. repertoire had been played by other corps show, the Pioneer of Milwaukee undoubtedly The Cadets received a perfect 10 score for (including three by the Bridgemen), but seldom held the record for the most props ever used in their tight drum line and their percussion set a had they sounded as tight as when played by the one show, including reams of material, the new standard for musicality -- they showed how Devils. Their 1987 program contained five Phantom Regiment required an opera house a drum line could play real music and play it musical selections, ranging from “neophonic” full of gadgets for “Spartacus” and the 27th with dynamics. The side-stepping snare line in jazz, to jazz arrangements of rock and roll. Lancers could change flags and equipment in fast motion was something to watch. The opener was Stan Kenton’s “neophonic” the blink of an eye. They featured a talented dance soloist, Fanfare, followed by Harlem Nocturne, However, 1987 was a year of excess in props, Wesley Johnson, from the Alvin Ailey Dance Enchidna’s Art, Free and Spanish Dreams, particularly by Star of Indiana as they presented Troupe, as well as one of the greatest moves of featuring some of the best soprano players in “The Greatest Show on Turf” -- a new and all time, their collapsing company front, a front the activity and 14 new alto horns -- a cross literal interpretation of a circus, a spectacle to which hit, dissolved as members performed between a mellophone and a French horn, behold (and criticize), with nearly everything ballet steps and scattered, only to reform as the nicknamed “bellophones” and “meophones,” the one would expect to see in a circus, including final chord hits. It is considered one of the latter named after brass writer Jack Meehan. pink elephants. most amazing musical/visual features ever by In 1987, the brothers Cesario (famed And along with it, audiences once again fans and members of other drum corps. costume designer Michael and his brother Greg, heard a brief return of (circus) marches in The Santa Clara Vanguard expanded on their an actor) came to Rockford from the East drum corps with the programming of old-time 1986 program, turning again toward the (Garfield) and made a dramatic statement by favorites, Barnum and Bailey’s Favorite and theatrical for an elaborate presentation of coordinating one of the most beautiful visual Thunder and Blazes, played by awesome horn “Christmas Eve in the Ukraine.” The show and musical programs ever seen and heard on and drum lines. They formed their traditional opened with four rectangular gongs signaling the drum corps field. star signature at the end. the beginning of “mass” and a procession of Cooling the field on a hot summer’s night, A story appearing in a 1987 Sports monks emerged from behind monastery walls. the Phantom Regiment, dressed in all-white Illustrated found Bobby Knight praising the The program of Russian classical music uniforms matched by elegant white guard hard work of a drum corps (Star of Indiana) as opened with Alfred Reed’s Russian Christmas costumes that were similar to the dress of an example for his basketball team: “If a Music, which has always been a favorite of Czarist Russia, they performed “Songs of the basketball team trained as hard as these kids,” drum corps (particularly the Crossmen) and Winter Palace” which featured music from said Knight, “it would be unbelievable. I like to music from other Russian composers -- Rimsky Tchaikovsky’s white ballets -- “Swan Lake” and take my players there and show them what they Korsakov’s Dance of the Tumblers and the “Nutcracker.” In keeping with the winter can accomplish with hard work and teamwork. Lezghinka from the “Gayne Ballet” and theme, the Regiment introduced the “iceburg” Besides, once they see them practice 12 hours a selections from Mussorgsky’s “Pictures at an drill, which would be seen in shows through day, my players think I’m a lot easier.” Exhibition,” including the Hut of Baba Yaga 1992. The Velvet Knights tied the Star of Indiana and concluding with the Great Gate of Kiev. Michael Cesario offered a formula for a for seventh place, for the highest finish to date This year’s corps was noted for an outstanding successful drum corps show -- he said that a of both corps. Taking a musical and visual trip French horn and rifle section. show should have three ingredients: tradition, around the world, the Velvet Knights At the end of Russian Christmas Music, the innovation and state of the art, along with introduced their “Magical Mystery Tour,” 149

Jay Jays, South Boston, MA (1967). miraCulOus medal OrBits, Queens, NY (1968). wHite rOses, York, PA (1968). Photo by Moe Knox. Photo by Moe Knox. Photo by Moe Knox. visiting China, Brazil, Africa and their home brilliant color during Somewhere. “Phantom of the Opera” and Suncoast Sound state of California (via beach chairs, beach balls In 1987, Dutch Boy debuted what with their “Symphonic Dances” -- stunned thrown into the stands and bikini-clad girls). would become their trademark “Las Vegas audiences with their portrayals of story, mood In 1987 and 1998, the Velvet Knights show-girl”-style show, ending with Frank and theme. In fact, 1988 was a year in which featured their now-famous “sex cymbals” -- Sinatra’s My Way. many corps portrayed strong emotions through their cymbal line was all-female and wore white It was also in 1987 that 1,500 young people, their music and visual, particularly by the tuxedo jackets, tights and black stockings, under the direction of Pepe Notaro, combined guard -- Phantom’s “Romeo and Juliet” and Sky looking like Las Vegas show girls. In trying to at DCI Finals to play the national anthems of Ryder’s “West Side Story.” remember what they wore, one fan said, “They the U.S. and Canada. Continuing their venture into the theatrical may have also worn white top hats, but nobody 1988 arena, “Phantom of the Opera” was presented was looking that high.” However, these cymbal Winning musical program played by by the Santa Clara Vanguard. The beautiful players took their musical technique and Madison Scouts in their 50th Anniversary year: music of this Andrew Lloyd Webber musical timing very seriously. Concerto for Jazz Guitar and Orchestra (Paul was bound to have success. Also, the color Suncoast Sound presented “My Fair Lady Hart) and Malagueña. guard dancing with the candelabras in the . . . Our Way” (Bill Holman’s arrangement in Most played selection: “The Sound of Music.” opener was very pretty. the style of Stan Kenton). The show was Both Madison and Velvet Knights played In another surprise move, SCV made the familiar in that it was played in typical Suncoast Malagueña. Phantom disappear and then reappear on the jazz style, but it was also a departure for In 1988, semi-final scores were not back side of the field. For a split second you Suncoast in the way the show was portrayed -- announced and the top six drew for couldn’t hear a pin drop in the stadium, but full of costumes, props, dancing and familiar performance slots. In a surprise finish, the what came next was an explosion of applause. selections from a famous Broadway and movie Blue Devils, who had been undefeated all The Blue Devils ventured into a more musical. summer, ended up third behind Santa Clara and popular and mainstream big-band jazz program Even though their 1986 Gershwin program Madison won the DCI World Championship for with phenomenal soloists. They had won every had been successful, Spirit of Atlanta returned one of the most exciting conclusions in recent contest until finals week. However, they still to the tradition of the deep South, portraying drum corps history. won top brass with Barbara Streisand’s life in “Big Easy” New Orleans with Basin The top 12 stayed the same as 1987. Five of ballad/blues style arrangement of Happy Days Street Blues, followed by a Dixieland jazz the corps kept the previous year’s placement are Here Again, an upbeat arrangement of That funeral and a powerful arrangement of Amazing and the top six and bottom six each retained the Old Black Magic, a Buddy Rich treatment of Grace. Dixie was heard twice in Are You from same corps, respectively. Goodbye Yesterday, and a bluesy, lyrical ballad, Dixie? In both 1986 and 1987, Dr. Robert In the year of their 50th anniversary that Since I Fell for You. Smith, of Suncoast Sound fame, did the included a two-week trip to Europe, the Supported by a fabulous percussion section, arrangements for Spirit as well. Madison Scouts surprised everyone by winning the Garfield Cadets confidently brought Making finals for the first time with a it all in the last week of the season. They Copland’s “Third Symphony” to the field in a smooth, flowing look, were the Bluecoats performed Concerto for Jazz Guitar and bold move which no corps could have made playing Bye Bye Blues, Autumn Leaves and Orchestra, along with their famous Malagueña without disaster at the beginning of the 1980s. Body and Soul. Autumn Leaves has become with a sizzling French horn section, combined It was some of Thom Hannum’s best percussion one of the most memorable tunes in drum with a nearly impossible drill which contained writing, with an outstanding cymbal line. corps (musically and visually) and Bluecoats tornado-like movement, expansive coverage of And then came Stravinsky (via the Cavaliers programmed it again in 1988 as a closer. the field, symmetry and asymmetry and and Spirit). Although the Phantom Regiment Here is an example of the same ballad being mastered them to perfection. had approached the music of Stravinsky 10 used both as a central number of contrast -- This was their first use of the counter- years earlier, in 1978, with good response, foreshadowing the future of drum corps -- and rotating triangle halves into the hit toward the perhaps the drum corps audiences were not yet as a closer, echoing the past, where the end of Malagueña. ready in 1988 for an entire program of early ballad-type of piece was used as the farewell or The 1988 Madison Scouts set the standard 20th Century dissonances. exit tune. for individual foot technique with one of the The Cavaliers took fifth place with Igor And for more pageantry, designer Tommy best displays of unified and ultra-clean Stravinsky’s “Firebird,” combining tradition Keenum and the Sky Ryders continued their individual marching techniques ever. with a new and avant garde interpretation of recent trend of putting Broadway on the field In 1988, eight of the top 12 corps would one of the most difficult of musical repertoires with a theatrical and literal production of “West perform musical repertoires that expanded on and impossible drills performed on a football Side Story,” a very entertaining Hollywood-style one musical idea, relying on one composition field. (They would perform it again in 1997 with extravaganza. It was a complete visual and throughout their 11-minute performance. less success). The singing was nice, there were musical package, with emotional impacts, However, the musical repertoires were again visual fireworks and a firebird swept over the particularly where the two ethnic factions quite varied between corps. entire corps at the end. merged. The corps literally filled the field with Two corps -- the Santa Clara Vanguard with The Phantom Regiment continued their 150

HOt sHOts, Norwalk, CT (1964). killmeN, Wyantskill, NY (1966). PittsBurGH rOCkets, Pittsburgh, PA (1966). Photo by Moe Knox. Photo by Moe Knox. Photo by Moe Knox. 1987 impression of elegance and romance by the way from the spock drum on their tenors in-your-face drum corps co-existed with a more presenting Tchaikovsky’s “Romeo and Juliet” down to the lowest of the basses. sophisticated, finesse type of drum corps. The and introduced some new concepts. Visual Suncoast’s “Symphonic Dances for the designers of the drills were more musically designer John Brazale combined the traditional Contemporary Child” (a Robert Smith original) sensitive and, for some, this mixture of musical Phantom block forms with a Garfield style of was outstanding in its visual creativity and philosophies made drum corps even better than reshaping for a new type of Phantom drill, with daring, but it became one of the most before, but for some the new sophistication the overall effect of balancing their traditional misunderstood and most discussed pieces ever meant a lack of entertainment. marching style of quick, powerful and angular played in drum corps. Certainly the drum and bugle corps activity motions and impressive box cross-throughs Fielding an excellent brass line and brass had advanced too far for a show composed with their lush symphonic sounds. soloists, the Bluecoats played Autumn Leaves solely of park and wail corps to be satisfying to The color guard, under the direction of Greg for the second year and this piece has remained most spectators. Cesario, a master of simple elegance, won the one of the most memorable tunes and visuals in Contrast and variety were the keys to a best guard award for the strong emotional drum corps. Their guard played sopranos on successful program and to a total drum corps portrayal of a group character, Juliet. the last note of Autumn Leaves and they did show. A powerful piece like Malagueña was A more serious Star of Indiana presented Take Five extended out into straight time. made even more powerful when played after a their interpretation of George Gershwin’s folk The Sky Ryders continued their journey beautiful ballad. And a drum corps show was opera, “Porgy and Bess.” Possibly, as a reaction with musicals by presenting “The Sound of made more interesting by the different styles of to the criticism of the 1987 show, the props and Music.” There was no hidden agenda, just an the corps -- jazz, classical, Broadway, gimmicks were gone, but a powerful horn line attempt to entertain the crowd with familiar humorous. with 18 contras reigned and the fury of a music, beautiful colors and “sing-along” Most of the shows now had titles which hurricane was heard in the percussion section, banners. defined or described the content of the but their visual show was not quite in the same The Bridgmen last marched in 1988, production. There were some obvious musical league as their musical performance. performing “Manhattan Street Scenes.” improvements in 1989 which were significant The Velvet Knights, who had replaced the The Freelancers did selections from “E.T.” and exciting. Bridgemen as the madcap clowns of drum corps and “Star Wars” and the Crossmen also Led by the Cavaliers’ model, the drill (with the movement of Bobby Hoffman from marched nine bass drums. became more geometric. Triangles, rotating the East to the West), took a page from the The Marauders performed a spooky, “vam- squares and wide-open, field-encompassing, notebook of the Beatles and made another pirish” show, titled “Dracula,” with tree props linear drills dominated the top 12. It was a year “Magical Mystery Tour,” this year visiting to create a haunted woods and a drum line that of moving symmetry rather than asymmetry. Greece, Spain, Africa and then back to the USA, wore featureless white masks during their solo. Theatrical music was popular again this where the audience was entertained by Pee Wee 1989 year. The Santa Clara Vanguard reworked their Herman and Uncle Sam. Again, their sexy Winning musical program played by Santa 1988 production of “Phantom of the Opera” to cymbal line and beach balls were a hit. Clara Vanguard: “Phantom of the Opera.” become a winner. The 1988 version had used If the Cavaliers had trouble selling their Selections included: Phantom of the Opera, more props to tell the story and many fans “Firebird,” the Spirit of Atlanta had an even Angel of Music, Phantom Reprise, Masquerade, preferred the earlier version. more difficult task (for them) with Stravinsky’s Wishing You Were Somehow Here Again, Track In 1989, the props were gone, about half the “Petrouchka.” Down the Murderer (included the percussion music was changed and the corps executed to For the Cavaliers it was another venture feature), Don Juan Triumphant and Music of perfection in all captions, as attested to by the into 20th Century music, but for Spirit it was a the Night. record-breaking score. The disappearing complete contradiction of style -- moving from Most played selection: “West Side Story,” Phantom was followed by a disappearing corps. Dixie jazz to ballet and a guard portraying American Salute (tied). The Phantom Regiment’s score would have puppets on strings. It was an interesting “Carmina Burana” was played by three won or tied for the championship in any other concept, but it was not a fit and the audience corps: Sky Ryders, Blue Stars and Limited year. Phantom also performed beautifully in did not seem to like it, even though the corps Edition. finals, narrowing the 1.3 gap from semifinals moved up one spot (from tenth in 1987 to The 1989 season was record-setting. All of down to 0.5. However, their percussion ninth in 1988). the performances were incredible and the Santa placement kept the corps from winning. Spirit proved that when corps do not appear Clara Vanguard won their fifth DCI Their 1989 program was titled “From the as themselves, they may run into identity championship, scoring 98.80, the highest score New World . . . Into a New Age” and was trouble, even though they have a talented horn to date in DCI. influenced by Dvorak’s “New World Symphony.” line and guard. Phantom Regiment received a 98.40 which With one of their best horn lines ever, they took For their “Petrouchka” show, Spirit was the previous record high score (held by a an old standard and ever-so-slightly altered the marched nine bass drums and a few of those couple of different corps) and which remains tempos, mood and musical style to provide a had a smaller tenor drum mounted atop the the highest second-place score. gorgeous production filled with impressive and bass. This gave them a continuous range all By the end of the 1980s, the driving, emotional moments. 151

vaCatiONlaNd sweetHearts all-Girl, Port Clinton, OH (1968). aNGels, Bellefontaine, OH (1968). st. mattHias Cadets, Milwaukee, WI (1968). Photo by Moe Knox. Photo by Moe Knox. Photo by Moe Knox. It was not played strictly classical (the (for them) and followed the Santa Clara a new and improved version of the first drum second movement, Goin’ Home, had a touch of Vanguard into the theatrical arena for the first corps all-original musical program, Robert rock) and it blew fresh air into the musical time, performing their entire show titled Smith’s “Florida Suite,” which the corps had repertoire. “Before and Beyond Tradition” to selections debuted in 1985. They wore all-white uniforms, black baldrics from “Les Miserables.” The program met with great success by and gloves. At the end of the introduction and It was an emotional show using a mixture of season’s end. Their visual this year was one of at the end of the show, the horn line formed a literal and symbolic interpretation. By adding my own personal favorites -- this time, instead triangular wedge, with the front sides of the interpretive dance moves and daring new of lying on the ground, the seagulls were flying triangle on one knee with the other leg sticking equipment tosses by the guard, as well as in the air. straight out. This famous move was used in spectacular body movement by the corps For the second year in a row, the Regiment shows from 1989 to 1991 and then proper, the Cadets did a superb job of evoking Freelancers performed music of John Williams, resurrected again in 1993. the mood and feel of the story without demonstrating that sticking with a theme The baritone line was so good that the story forsaking their famous marching and musical might pay off the second year as they moved has been passed along that a brass judge said on style. from fifteenth place in 1988 to tenth place at their tape, “Good God, Phantom, your baris just Visually, they combined slow motion and a DCI in 1989. jumped into the box with me!” The baritone rotating figure during the battle sequence. Their program consisted of selections from soloist was James Hosmer who aged out in There was a “tattered” flag tossed from the field “ET” and “Empire of the Sun.” “They had a 1989 and then went on to play with Future up to the drum major on the podium. It was a ‘cool drill’ that was entrancing enough to make Corps, then to Tomorrowland Brass, both at beautiful and moving program, both musically one’s eyes swim.” In the opening move, a box Walt Disney World. and visually, but they had taken on a new image condensed with a guard dancer at the front Finishing third for the third time in four and finished fifth, their lowest since 1981. point and there was an outstanding contra solo. years were the Cavaliers. Both the Cavaliers Placing in the elite top six for the first time In eleventh-place were the ever-entertaining and the Madison Scouts ventured into vocal was Star of Indiana. The chameleon Star Velvet Knights, whose music consisted of Yo music. The Cavaliers opened and closed the adopted a five-year plan to be a corps with a Mambo, Velvet Knights in Tunisia, Sing, Sing, show with two selections from John Rutter’s (majestic) British image (following in the steps Sing, ’round Midnight, Nutcrackers Ball and “Gloria,” Andante and Allegro to begin the of 27th Lancers and Guardsmen), performing in Kansas City. show and Vivace E Ritmo as the closer. Their 1989 English-themed music: “Henry V,” Song And in twelfth place were the Crossmen. centerpiece was the drum solo which was Without Words, “Fantasia on the Dargason” Their music consisted of Wind Machine, The renamed Images Diabolique after the start of (Greensleeves) and the majestic Crown Imperial Waltz and an upbeat version of How High the the season. March. The show was well-executed and a nice Moon. Although this drum solo started out to be throwback to “old time” drum corps, but the Dutch Boy continued their Las Vegas act by another piece, some rather unusual five-year plan lasted only one year. playing three selections by Cole Porter: I’ve Got circumstances led the Cavaliers to turn this Finishing seventh were the Madison Scouts, You Under My Skin, Begin the Beguine (which into an original composition, based partially on who exploded on the field with a great opener, was sufficiently long to cause some fans to call the Dies Irae theme, which evolved and Doxology and Make His Praise Glorious from it End the Beguine) and Night and Day. This developed throughout the season. the Sandi Patti album of the same name, was a special show -- fun, pleasant This was a stunning visual show with whole followed by one of the Scouts’ warhorses, arrangements, good soloists and very field coverage, boxes forming into crosses and Slaughter on 10th Avenue (or just plain entertaining. The corps missed finals by only back into boxes and a return of their popular Slaughter to diehard fans) from the Richard 0.3 of a point and many feel Dutch Boy should dragon during the drum feature. Rogers classic “On Your Toes,” comprising a have been in finals in both 1988 and 1989. The fourth, fifth and sixth place corps were major portion of their 1989 repertoire. In a fourteenth place tie with Spirit of separated by only 0.6 of a point. As they have often done in the past, they Atlanta were the Sky Ryders who moved from Finishing fourth were the Blue Devils with a showcased many styles of jazz in this one their fan-friendly theatrical identity to a typical show which meant the fans could just composition. classical program of the March from Paul sit back and enjoy a fantastic horn performance. In eighth place were the Bluecoats with an Hindemith’s “Symphonic Metamorphoses” and The Devils presented a tuneful program that entertaining program consisting of Johnny a drum corps favorite, “Carmina Burana,” contained some recognizable and some not-so- One-Note, a beautiful rendition of My Funny dropping them out of the top 12. familiar tunes: Sammy Nestico’s Ya’ Gotta’ Try, Valentine and a toe-tapping version of an old And Spirit of Atlanta moved further afield If We Were in Love by John Williams and Alan big band classic, Sing, Sing, Sing, that had the with uniforms from outer space to Bergman, Claude Bolling’s Allegre and Richard crowd up on their feet and roaring at the end. appropriately support Amin Bhatia’s Rodgers’ Johnny One Note. This was a favorite It was one of their most popular years, as they “Interstellar Suite.” For the second year they year, even with a little mishap in the ballad. played recognizable tunes with “loving” visuals. marched an awesome line of nine bass drums, The newly re-named Cadets of Bergen In 1989, their last year as an open class but in 1990 they would go back to a more County also moved in a new artistic direction corps, the ninth-place Suncoast Sound reprised standard line. 152

GuardsmeN Cadets, Schaumburg, IL (1984). st. JOsePH’s BriGade, Astoria, NY (approx. 1990). westCHester BrassmeN, Harrison, NY (1998). Photo by Chuck Young from the collection of Drum Corps World. Photo by David Schwartz from the collection of Drum Corps World. Photo by Moe Knox from the collection of Drum Corps World. Spirit of Atlanta and Sky Ryders were This led to more audience cries for a return their rifle squad and cymbal line. among a growing list of corps that had lost or to entertaining and exciting drum corps shows After the pit was established, some corps that were rapidly losing their identity. The list and even a return to “the good old days of drum abandoned their marching cymbal lines, but was growing and a number of corps were corps.” A few corps learned to balance their some have been very memorable and effective. changing both style and music to attempt to shows (namely the Madison Scouts and the For example, in 1985, the Cavaliers had their satisfy the judges, thus becoming unrecogniz- Phantom Regiment), racking up both points rifle line on red cymbals, which symbolized the able and disappointing to many spectators. and applause. red planet, Mars. The message was clear -- a corps could not Memorable cymbal lines The 1987-1988 Velvet Knights outrageous totally depart from its tradition to please the Cymbal lines can be one of the most “sex cymbals,” really drew attention to the line. judges, lest they lose their audience and their entertaining features of a drum corps. Even in The 1988 Garfield Cadets’ cymbal line was very scores. the early 1950s, the Madison Scouts were active and in 1991, 10 Garfield contra players In sixteenth place were the Blue Knights presenting a genuine cymbal extravaganza, marched cymbals during the first part of the and the last semifinalist corps was the which would become a trademark for them in show. irrepressible Boston Crusaders. future years. In 1995, the Crossmen had a 16-person Tying for eighteenth in quarterfinals were In 1969, at the end of Auld Lang Syne, the cymbal line for their ballad, the second the Troopers and Florida Wave. Perhaps the Kilties were using the large variety of cymbals movement of “Symphony for Brass and highest sustained note played in drum corps and they were tossed about 30 or 35 feet into Percussion.” In 1998, Santa Clara used their was by Florida Wave in 1989 at DCI East the air and they let them drop wherever . . . but cymbals as yo-yos and in the same year prelims -- an ‘A’, two octaves above the staff as the crowd was going “wild” before they ever hit Cavaliers had their entire guard play cymbals written (that’s a concert ‘E’ pitch). the ground. during the company front at the end of the After nearly six years of debate, the option to The 1973 Kilties used the cymbals in a show during the Bolcom “Machine” finale. It use three-valve, bell-front bugles (still in the circled cluster played by a revolving circle of was quite impressive. key of G) was approved by the Drum Corps snares. In the 21st Century, Madison Scouts, Santa Rules Congress (Chicago, December, 1989). Santa Clara’s cymbal lines have always taken Clara Vanguard, Glassmen, Capital Regiment Four-valve contra bass bugles were also themselves seriously and they probably came and Carolina Crown have had very visual approved. They could be purchased at any into their own in 1975 with Dance of the cymbal lines. time, in addition to the selected choir. Buffoons with the fun things that they In 2001, the cymbal event for the year was Throughout the 1980s, the judging panel discovered they could and were allowed to do. the Madison toss/exchange. had dwindled from an impressive, but expensive Santa Clara became famous for their cymbal And with the increase of members from 128 12-man crew, to a meager six evaluating the art line doing the “V” at the end of the to 135 in 2001, the corps would now be able to form. With the judging panel halved, many of performance. The Blue Devils had some use these extra members in a variety of ways; the major corps abandoned the audience in exciting cymbal exchanges and in 1976 their some would increase their horn lines, some favor of impressing the few judges who awarded cymbal players bent over backwards. In 1979, would expand their guard and some would the numbers. North Star’s snare line marched across both return to a line of marching cymbals.

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st. JOsePH’s irONBOuiNd Cadets, Newark, NJ (1963). milFOrd POliCe Cadets, Milford, CT (1960). Photo by Ron DaSilva. Photo by Moe Knox. 154

HawtHOrNe CaBallerOs, Hawthorne, NJ (1965). st. mary’s maJestiC kNiGHts, Charlestown, MA (1964). Photo by Ron DaSilva. Photo by Art Kellerman from the collection of Drum Corps World. The Nineties harmonies and subtle gestures. innovation had on the activity. Each decade has had its shining stars -- All of these attempts into artistic venues led The beginning of the age of drum corps corps that led the way. Troopers and Cavaliers to continuing discussion on whether or not discontent had started in the mid-1980s (after in the 1960s, Santa Clara and Blue Devils in the drum and bugle corps was an art form and if it the 1985 season). Old-timers insisted that the 1970s, Cadets in the 1980s and now, in the should attempt to do what could be done better corps of the 1960s were the epitome of 1990s and into the 21st Century, the Cavaliers on the stage or in the dance theatre. excitement, with recognizable music and flag would again take the lead with outstanding For music of a very exciting and dramatic displays. percussion sections and stunning visual shows nature, corps adapted music from At the end of the 1980s and well into the of flowing geometric designs. This corps has contemporary composers of movie scores such 1990s, some of the musical programs had been remarkable in its ability to remain in the as John Williams, Miklos Rosza, Bernard become so sophisticated and esoteric that limelight for all of these years. Herrmann, Jerry Goldsmith and Danny Elfman. audiences began to complain about the lack of Music In the 1990s, nearly all programs would entertainment value of the shows and lack of As one looks back over the history of drum have a title, indicating the theme of the musical accessibility. and bugle corps, it is interesting to note how program. And favorite drill moves and visual It was felt that the corps were now many musical selections, which were thought designs also had names, such as the Cavaliers’ designing their programs to please the judges to be new for certain corps in the 1980s and the DNA chain, diamond cutter (four boxes to one), rather than to entertain the audiences. This 1990s, had actually been in the repertoire for the blender, the esophagus; the Cadets’ toilet age of discontent seemed to reach its height in that same corps in the past and sometimes even Bowl, meat grinder, Z-pull, Z-pull reverse and 1993 with the Star of Indiana’s minimalist for another corps. the scatter drill; Phantom’s wedge and iceburg musical and visual program. Also, it is interesting to see corps trading drill, etc. This led fans and organizations to begin roles in terms of musical compositions or styles Also popular with staffs were shows that giving awards for the most entertaining corps in the 1990s, most notably the Cavaliers and conveyed a message (Crossmen’s trilogy) about (FIFE, Spirit of Disney) and to polls of fans for the Cadets or the Cadets and the Santa Clara the planet Earth -- “Inspire you to cherish and the most entertaining corps in any season. Vanguard. care for the only home we’ve got; the planet By the the mid- to late-1990s, the age of The 1990s saw an increased use of 20th Earth”; the use of symbolism, minimalist discontent moved into some favorable Century band and wind ensemble music, shows, experimentation with density on the responses to the programs as some corps tried particularly by the Cavaliers and Cadets of field and numerous attempts to expand the to be more entertaining, with more palatable Bergen County. There was also a move by some show to the limits within the rules. programs. However, by this time there seemed corps (particularly Colts, Crossmen and There were also suggestions, especially by to be a decline in audience and corps member Glassmen) to New Age music and a number of Cadet’s Director George Hopkins, on how to participation, as more and more corps corps ventured into vocal music, often of a expand outside the rules, particularly with the disappeared from the scene. religious nature -- the Cavaliers, Colts, use of band instruments (B-flat brass and Brass Glassmen and Madison Scouts. woodwinds) and electronics/amplification, French horn bugles and bass baritones were Although not a new concept, programs of which has brought many complaints from introduced in the 1950s. Contra bass, single pieces -- David Holsinger’s “To Tame the drum and bugle corps purists. mellophone and flugel bugles showed up in the Perilous Skies” and “In the Spring, At the Time In their never-ending search for new 1960s. The G-F horns and two-valves were When Kings Go Off to War” and Jan van der material, many corps were reaching for more used in the 1970s, three-valve bugles in the key Roost’s “Stonehenge” (presented by the Cadets abstract and unknown compositions and used of G were approved in 1989 and were utilized in 1992, 1993 and 1998, respectively) became equally abstract concepts in designing their throughout the 1990s. fashionable. shows. They strove for difficulty in terms of Until now, the possibilities of what a brass Cohesion was often provided with the use of more complex music with more complex line could play were limited, but the three-valve musicals, ballet, opera and oratorio -- the 1982 chords, unusual meters, multiple meters and bugle would open up new possibilities, Phantom Regiment’s “Spartacus” (ballet); 1990 mixed meters. expanding the notes the horns could play Madison’s “City of Angels” (musical); 1990 In some cases, eliciting crowd response and the keys the composers and arrangers Santa Clara Vanguard’s “Carmen” (opera); and throughout the show appeared to be less could use. the 1990 Star’s “Belshazzar’s Feast” (oratorio). important than performing the perfect show. Opening up the inner voicing was also a Corps were adopting the more ambitious Two of the most unusual and misunderstood major development. Jim Ott used to write shows of contemporary Broadway -- the shows of the 1990s were the 1991 Cadets of incredible mellophone phrases. Blue Devils Madison Scouts’ two-year stint with “City of Bergen County and the 1993 Star of Indiana. were strong with their alto horn parts. Jim Angels,” the Blue Devils’ rendition of the Once again, they proved that some fans and Prime opened up the range of what a baritone raucous rock opera “Tommy” or the Garfield judges don’t like innovation at the time it is and a mellophone could add to a drum corps. Cadets’ pioneering interpretation of Bernstein’s done, usually ahead of its time, but 10 years Expanding what the middle and lower voices “Mass” (subtitled “A Theater Piece for Singers, later those shows are looked back on with could do not only made it more fun for the Players and Dancers”), with avant guard admiration and respect for the impact that their members who played those instruments, but it 155

valiants, South Boston, MA (2001). silver knights, Ludlow, MA (2001). spirit of the lakes, Canandaigua, NY (2000). Photo by Harry Heidelmark from the collection of Drum Corps World. Photo by Harry Heidelmark from the collection of Drum Corps World. Photo from the collection of Drum Corps World. also allowed the music arranger and the 1980s and 1990s. Marching had often changed (tied). designer to become more creative by allowing to dancing in the guard, with a color guard In December, 1990, the DCI Rules Congress all sorts of possibilities for creating new sounds soloist used to highlight a brass soloist being an finally voted in the three–valve bugle. and textures, blending different ensembles of expected event in every show and some drum Although the adoption of the three-valve bugle instruments in various combinations and and bugle corps color guards no longer had to had been under discussion for a number of staging events and segmenting sections be skilled in flag and rifle work. years, some of the immediate arguments for the differently. Guards in some corps, such as the Phantom adoption were: The horns being manufactured in the 1990s Regiment, were skilled at both dance and Three-valve bugles would allow for greater and 2000s were of far better quality and more equipment work and used both to their musical flexibility and creativity by allowing expensive than the bugles made in the 1950s, advantage. ALL notes to be played. Horn arrangers would 1960s and 1970s, so it is difficult to make Some old timers who came from now be able to write in keys and ranges that comparisons between horn lines of then and equipment-oriented guards and did not like so were not friendly to the two-valve bugles. now. The quality of the performers has also much dance, called it fluff, but with the Horns were to be phased in over several dramatically increased over time. increased emphasis on emotional presentations years and some corps went several years Contras of corps, dance was able to portray emotions without acquiring the new horns. And not all Brian Hartmann (a contra player and a more effectively than rifles. of the corps, including Star of Indiana, percussionist) provided the following One disgruntled fan observed: “Our dance immediately jumped on the three-valve wagon. information in 2002. “Often there have been troupe, majorette, cheerleaders that we The 1990 DCI Championship included expanded contra lines. Star’s line typically had presently refer to as color guards now need only outstanding performances by all six of the 12, but they used 18 for their “Close know how to move about the field while contenders. But some observers citied a lack of Encounters” feature in 1986 -- six euphoniums carrying a piece of material or some other type creativity among these top six, observing that it picked up contras for that particular section of of toy, as opposed to using flags and rifles to was obvious how much each had drawn from the show. visually support and interpret music. the past -- or from that of someone else. “Star marched 16 contras for the entire “Progress and innovation have brought us A wide variety of music was on tap again show in 1992. The Phantom Regiment had 14 to pitch forks, umbrellas, triangles, rakes, this season. Selections featured included: contras in 1993 through 1997 and in 1999. We empty sticks and other illuminations. “Carmen” (Santa Clara Vanguard); Bernstein’s had 12 at Bluecoats in 1996 and I think they Sometimes absolutely no equipment or toy is “Mass” (Cadets of Bergen County); “Gone with also had 12 in 1990. necessary. All they have to do is run, jump and the Wind” (Spirit of Atlanta); Savannah River “The Cadets had 12 in 1996 and 1999. The look pretty.” Holiday (Sky Ryders); Coronation Scene from Cavaliers have marched 12 for more than a During the 1990s, the field and the pit area “Boris Gudonov” (Boston Crusaders, decader.” were often cluttered with all of the equipment celebrating their 50th Anniversary), a glitzy Las Percussion that was used or dropped by the guard during Vegas tribute to Sammy Davis Jr. and Frank Like the winter color guard activity, the performance, often making it difficult to Sinatra (Dutch Boy); and part of the rock opera marching percussion competitions became a clearly see the drill. Some also had complaints “Tommy” (Blue Devils). new off-shoot of marching bands and indirectly about the expanded pits blocking or distracting Copland and Bernstein of drum and bugle corps. In the 1990s, corps from the field performance. In 1990, with the deaths of Leonard started having as many or more keyboards than The 1990s experienced the death and Bernstein and Aaron Copland, the music world they had snare drums. There used to be a profound losses to the drum and bugle corps lost two giants of 20th Century music and two couple of keyboards in the pit, now the entire activity of some of its greatest visual designers of the most important influences on drum and pit would be filled with keyboards (often eight). -- Bobby Hoffman in 1991 (Bridgemen, Blue bugle corps repertoires. Bass drums Stars and Velvet Knights), George Zingali in The earliest presentation of the music of At the end of the 1980s and into the 1990s, 1992 (Garfield, Star, Blue Knights), Steve Bernstein was in 1959, when the Hilton some corps had expanded bass drum lines, Brubaker in 1993 (Cavaliers, Star of Indiana Crusaders (Rochester, NY) played Tonight from particularly during their percussion features -- and Bluecoats), John Brazale in 1994 (Phantom “West Side Story.” Before 1989, selections from Cavies used eight in 1992 during their solo, Regiment) and percussion pioneer Fred Sanford “West Side Story” had been played as many as Crossmen used eight to 10 in 1995 during their (Santa Clara Vanguard). 300 times by various corps. solo and the Kiwanis Kavaliers had eight in 1990 During the 1980s, the Garfield Cadets made 1997 during their solo. Winning musical program played by the Leonard Bernstein a demigod in the drum While the standard number of bass drums Garfield Cadets: “A Bernstein Celebration”: corps community. Bernstein’s “Mass” has been five, Madison has been noted for overture to “Candide”; Sanctus/Agnus Dei from (popularized by Garfield in 1983) was played by marching six (until 2002 when they will go “Mass;” Somewhere from “West Side Story;” 10 corps between 1972 and 1990. “On the back to five). Galop from “Fancy Free Ballet.” Town” was played by eight different corps Marching/dancing Most played selection: “Suite for Jazz between 1976 and 1988, with Santa Clara There was increased use of dance in the late Orchestra”/“The Sound of Music,” Caravan Vanguard playing it in 1983, 1984 and 1985. 156

st. kevin’s emerald knights alumni, Dorchester, MA (2000). new york skyliners alumni, New York City, NY (2000). southwind, Montgomery, AL (1995). Photo by Moe Knox from the collection of Drum Corps World. Photo by Harry Heidelmark from the collection of Drum Corps World. Photo by Dan Scafidi from the collection of Drum Corps World. Bernstein’s “Wonderful Town” was played by the Kid” 12 times between 1975 and 1985 -- four while the swiftly-moving percussion line (with a 1986 Garfield Cadets and the 1990 Sky Ryders. times by the Troopers (1977-1979 and 1985) battalion of 10 snares) took front stage to show The “Jeremiah Symphony” (“Symphony #1”) and three years in a row by St. Ignatius Girls of off their skills. was played by the Garfield Cadets in 1985. Also, New York (1975-1877) and A Lincoln Portrait Somewhere from “West Side Story,” was a on Garfield’s 1985 winning program was music nine times between 1969 and 1980, with the touching, emotionally-charged number from “Candide” (Overture and Make Our Sky Ryders playing it for three years in a row featuring their multi-faceted guard with Garden Grow) and they played the Overture (1970-1972). sensitive individual moments. During Galop again in 1990, in another DCI Championship In 1992, the Blue Knights presented from “Fancy Free Ballet,” the full corps turned program. “Portraits of Aaron Copland” using Corral into a fast-flying musical machine as they The popular “Candide” was played by 10 Nocturne from “Rodeo” and the “Red Pony,” rapidly carved up the field and finished with a different corps between 1969 and 1990, while the Cavaliers based their 1996 program grand and humorous visual unwrapping and including two years in a row by St. Rita’s on the music of Aaron Copland (including his wrapping of a “Z” visual form, described as “the Brassmen (1969-1970) and by the Erie “Third Symphony”) along with music by psyche-out Z-pull where they start it Thunderbirds (1974-1975), three years in a row Copland’s student, Julian Orbon. (accompanied by an ascending scale), stop it (1978-1980) by the Cranford Patriots of New In 1997, the majority of the Cadets’ and then go in reverse (accompanied by an Jersey (1978-1980) and twice by the Santa Clara “American West” program was by Copland identical, but reverse descending scale). Vanguard in 1974 and 1977. (selections from “The Tenderland,” “Billy the However, since this was Marc Sylvester’s The jazz ballet “Fancy Free” was played by Kid” and “Red Pony”) and Copland was more version of Zingali’s most famous signature, it the New York Skyliners in 1976 and 1982, by recently brought to the drum corps field in should probably be referred to as the S-pull. Les Eclipses in 1985 and 1986 and by the 1998 by the Santa Clara Vanguard, who played The Cavaliers had developed their own Cadets of Bergen County in 1990. some of his the lesser-known compositions in unique style over the last five years. In their “Chichester Psalms” was played by the Blue their “Fog City Sketches,” particularly the “Age highest DCI placement to date, the second- Knights of Colorado in 1990. “On the of Anxiety.” place Cavaliers opened with a beautiful fanfare Waterfront” was played by the Garfield Other corps have continued to play music of based on John Rutter’s “Gloria,” then presented Cadets in 1986 and by the Santa Clara Vanguard these two composers through the 1990s as well. an original musical program called “The in 1997. The first corps to feature the music of both Cavalier Anthems,” which was based on The music of Aaron Copland may have Bernstein and Copland in the same show was contemporary symphonic wind music. achieved even greater popularity on the drum the 1969 St. Rita’s Brassmen, who played Selections from Ron Nelson’s “Medieval corps field, being most closely associated with Buckaroo Holiday from Copland’s “Rodeo” and Suite” allowed them to show off many styles of the repertoires of the Santa Clara Vanguard and Make Our Garden Grow from Bernstein’s movement and music and, during one of the the Troopers. “Candide,” with brass arrangements by Hy segments called Homage to Leonin, they Copland’s music was first brought to the Drietzer. presented a sensational percussion feature competition field by the 1963 Chicago Royal In 1990, the Cadets of Bergen County’s with the return of the famous drum heads Airs. Copland’s music continued to be played “Bernstein Celebration” accessed Bernstein from 1989. often over the years by such corps as the Santa compositions written between 1953 and 1971 in In one of the most moving combinations of Clara Vanguard (“Red Pony,” Grovers’ Corners), a kind of variety show format, tied together by a beautiful music and a company front ever heard the Troopers and Garfield (“Third Symphony”). “leitmotif,” and it relied on some of the same and seen in drum corps, they next presented Copland’s “Appalachian Spring,” the musical music and drill moves that won for them three Rutter’s appealing “All Things Bright and program of what is considered by some to be consecutive DCI titles in 1983, 1984 and 1985. Beautiful” and finished with Rutter’s “O Clap Garfield’s best-ever show in 1987, was Although it moved away from the theatrical Your Hands,” driving to an exciting all-out performed 25 times between 1970 and 1990, kind of interpretation of 1989’s “Les finish, with an outstanding color guard with the Guardsmen of California leading in Miserables,” they continued the use of the throughout the show. Their famous dragon 1970 and Santa Clara playing it during four guard in an emotional and interpretive role that made a brief reprise. different seasons. they would develop further during the 1990s. Star of Indiana made a big leap up in the “Rodeo” was played 30 times between 1968 Visual designer Mark Sylvester was very proud standings this year, in large part due to the and 1989, including four times by the Troopers. of the character portrayal by the guard. hiring of George Zingali to write their drill. Fanfare for the Common Man was first played The overture to “Candide” was spirited, with They opened with an ethereal fanfare of chilling in 1963 by the Chicago Royal Airs and through fast-paced rhythmic work carried out visually, dissonance, playing Sir William Walton’s 1987 it was played a total of 31 times. with swift cross-through drills that coordinated “Belshazzar’s Feast,” an oratorio written for “Tenderland” was played three times each musical section with the appropriate orchestra, split choir and two brass bands. between 1984 and 1989, led by SCV, who played visual accompaniment. This piece of musical splendor seemed made it in 1984 and 1985; Copland’s “Symphony #3” Sanctus/Agnus Dei from “Mass” showcased to order for this corps and they went all-out to was played four times between 1984 and 1988; the guard’s ability to project emotions, as they present a non-literal interpretation of a pagan “Our Town” in 1985 by Santa Clara, “Billy the were featured in beautiful interpretive dance feast, a sense of loss and foreboding, then a 157

shenandoah sound, Winchester, VA (1997). scenic city, Chattanooga, TN (1999). wabash crusaders, Marshall, IL (1997). Photo from the collection of Drum Corps World. Photo by Harry Heidelmark from the collection of Drum Corps World. Photo by Dan Scafidi from the collection of Drum Corps World. renewed commitment to good. themselves and the fans. The brass was there, levitating maidens and disappearing phantoms Although Zingali had been visual designer the visuals were great, the guard was the best, made some wonder if the real Santa Clara for Star in 1986, this was his first big success but it was unusual to see a major corps be so Vanguard had also disappeared. with them and his writing is one of the main creative as to move that far away from their In 1990 they returned to a more traditional reasons they jumped from eighth to third place. identity, because such innovation required the approach to drum corps. Using Shchedrin’s His sources of visual design included using old audience to reacquaint itself with the corps and ballet music arranged from Bizet’s opera English/Scottish band formations like those get used to someone new. “Carmen,” they brought a new image to this used at the Edinborough Tattoo, as well as It was only when they played a one-and-a- music and to the drum corps field, as they putting in references to the Bible (which was half minute section of straight Blue Devils jazz presented a full color guard of barefooted the main theme behind the show) such as the during part of Pinball Wizard that the audience Carmen’s. fish and the cross. recognized them. However, the corps retained the exquisite And the way George implemented the “star The award-winning guard wore futuristic sound and flowing drill that had made them into a star into another star” at the end of the outfits and, in another innovative move, the famous. A fan said: “The opening fanfare to show, plus the religious Px (meaning Christ and field was covered by white tarps (already being “Carmen” was ‘chillbump city’ and, from the peace) was nothing short of amazing. used in winter guard) in the shapes of pinball first note, the baritones were unreal!” As of 1990, Star’s recruitment of the machine levers and a ball. A favorite drill move The Crossmen show was considered one of Garfield Cadets’ 1983 and 1984 staff was was the levers pushing the ball to the back their best to date. They successfully channeled complete, but the resulting product was a drill leftfield section. The drum line rocked and the their intense spirit and passion through a set of that was much like Garfield’s in style. They had snare line made a return to the toms to close tunes by New York Voices: Baroque Samba, spectacular uniforms and a glittering visual this explosive production. Round Midnight and Caravan, in the latter program full of purple, gold, red, silver, chrome Phantom presented “Dreams of Desire” showing off their spectacular percussion and sequins. Add to that incredibly difficult using the rich and powerful chords of Saint- section, and ending with Now or Never, a brass charts, some beautifully resonant Saens’ “Organ Symphony” (“Symphony #3”) get-happy, Latin-funk number which gradually percussion effects and typically exciting but and his lighter “Carnival of the Animals,” in grew in intensity to a powerful ending impact, dizzying Zingali drill moves, in this as in many which they paid amusing tributes to many of enhanced by a great contra line. of their productions, Star did not make the their competitors, and closed with a rousing The Madison Scouts presented a rather desired emotional connection with some fans. Bacchanale from “Sampson and Delilah” for a unusual program for them, titled “Undiscovered The obscurity of the music and the show show climax that was higher, faster and louder Madison,” which included Mark Kirk’s The concept may have left many in the stands than any they had done to date. Lemon Squeeze, Paul Hart’s Remembrance scratching their heads, while others were in Making a dramatic appearance in black and (ballad) and I Can Cook Too with a awe of the total effect through one of the most white uniforms, Phantom gave the audience boogie-woogie blues feel. This all-new program difficult shows of the year, flawlessly executed. some of what it expected -- clean, crisp drills showed off many different jazz styles, including Star won high brass and used a very small with block pass-throughs, the much-anticipated progressive jazz, rock, folk, boogie and fusion of percussion battery of five snares, five toms and wedge and their vintage sound of power, along all of the above. five basses at finals. Just listening to the with some things unexpected, such as The Velvet Knights took the crowd through mellophone section and the pit was a treat. contrabass elephants and light, frivolous guard a summer season from graduation until time to 1990 proved that Star could do it all; be work. go back to school in a program of good-natured innovative, awe-inspiring, technically perfect. This complementary serious and fun show humor and quality drum corps. Selections There was a fourth-place tie between the was a good example of what designer Michael included: Pomp and Circumstance, Blue Devils and the Phantom Regiment. It is Cesario had prescribed for a successful drum Summertime, School’s Out for Summer, interesting that in the 1990s there were three corps: a combination of “tradition, innovation “Universal/Hollywood Medley,” (Hooray for ties in the top six -- in 1990 for fourth place and and state of the art.” Hollywood, Singin’ In the Rain, “Wizard of Oz,” in 1996 for first place, both between the Mike Davis noted a favorite move of contrast “Fiddler on the Roof”), Slow Burn (Spyro Gyro) Phantom Regiment and the Blue Devils -- and anticipation in this show described as and “Summer of ’42” (LeGrand). significant because these two corps have follows: “In the opener, there is a spot near the Performing selections from two movies set possibly the most contrasting musical styles in end of the symphony where the brass and in Georgia, “Gone With the Wind” and “The the activity. The third tie was in 1999 for first percussion have built a high tension moment Color Purple,” Spirit of Atlanta allowed the between the Blue Devils and Santa Clara and are about to explode out into the end of the 1990 audience to fall in love with this corps all Vanguard. piece, with the guard wearing elegant long over again, after their 1989 drop out of the Daring to be innovative with a shocking skirts and holding chiffon-ish, flowing kerchiefs top-12. The music was varied, containing departure from their usual style, the Blue in their hands. They did a simple, dainty fanfare, reel, waltz, can-can, Dixie, Taps, an Devils used music from the London Symphony curtsey.” African drum solo, blues and gospel and they Orchestra arrangement of the 1970s pop-rock Moving away from their recent theatrical returned to a more standard bass drum line. opera “Tommy” by The Who, challenging both identity of elaborate costumes and props, Dutch Boy was a dazzling addition to the 158

danbury drum corps, Danbury, CT (approx. 1995). northshore, Scarborough, ONT (1996). emerald knights, Mississauga, ONT (1997). Photo by Ron DaSilva from the collection of Drum Corps World. Photo by Dan Scafidi from the collection of Drum Corps World. Photo by Dan Scafidi from the collection of Drum Corps World. finals roster in their first and only year in the Regiment); music of John Rutter (Cavaliers); (Benjamin Britten); The Bridegroom (John top 12. Combining the music of Frank Sinatra “Camelot” (Sky Ryders); “Fantasia” (Magic); Rutter); and O Be Joyful in the Lord (Ralph and Sammy Davis Jr. in “A Tribute to Frank and music of Pat Metheny (Crossmen); “Rocky” Vaughn Williams). Sammy,” they turned on the crowd with their (Boston Crusaders); Respighi’s “Roman The show was most innovative with regard show-biz musical savvy and Las Vegas-style Festival” (Star of Indiana). to the drill matching the music. With respect showgirls performing such selections as Star of Indiana dazzled audiences and to drill design and visual performance, the Overture to Frank, Strangers in the Night, My pushed the limits of drum corps with a Cavaliers were unequaled, launching turning, Way, It’s Alright With Me, What Kind of Fool spectacular drill, glitzy detail and difficult twisting and sliding three-dimensional effects, Am I, Come Back to Me and Once in a Lifetime. music arrangements in their show titled “A backed by an entire spectrum of colors, leaving Although the Freelancers had some Roman Festival,” playing music of 20th the audience in awe. interesting formations with their “Batman” Century Italian composer Ottorino Resphigi. There was a spontaneous crowd response production, they dropped to fifteenth in 1990. The production was a true Roman pageant, when, at the end of the show, the horn line A small Canadian corps, Academie Musicale, from the opening heralding sopranos, to the folded into the 50-yard line and then burst out from Sherbrooke, QUE, with only 47 members, final mammoth dual crosses. into a Christmas tree shape, while the flag line played Liberty Fanfare, Tchickovsky’s From a technical standpoint, the brass line did an exchange over the top for one of the “Symphony #4,” Dvorak’s “Slavonic Dances” was one of the best in DCI history. The stellar greatest Cavalier visuals of all time. and “Young Sherlock Holmes” and placed arrangement of a well-chosen musical book was It truly was “Phantom at the Opera” as the twenty-second overall, but took third in brass at crammed with as much technical difficulty as Regiment presented an emotional “Phantom open class prelims, with an unusually possible. The soprano feature in the Voices,” sailing from the Nessun Dorma from good-sounding horn line for that time of day. introduction was so dark that they sounded like Puccini’s “Turandot” build, through the Since open class corps did not compete in the mellophones. production of Vesti la Giubba from afternoon, they ended up sixteenth overall in A fan said: “They played so well, it didn’t Leoncavallo’s “Pagliacci,” which included brass between Boston and the Glassmen. sound like they were marching.” Yet, the sheer Maynard Ferguson’s modern jazz interpretation 1991 number of notes in the difficult arrangements of this work, to Saint-Saens’ barbaric Winning musical program played by Star of were performed unbelievably at breakneck drill Bacchanale from Saint-Saen’s “Sampson and Indiana: “Roman Images” (music by Ottorino speed, clearly taking the activity to a new Delilah,” for a pagan celebration and exciting Resphigi) -- “Pines of Rome” and “Roman musical level of achievement and demand. finale to a fun and emotional show. Festivals;” Circus Maximus; Villa Borghese; The phenomenal horn line performed with If some thought that the Regiment’s 1991 Medley of Resphigi Works; Epiphany. well-integrated percussion and a stunning arrangement of “Pagliacci” was not in the style Most played selection: “West Side Story.” guard in a show that also may have been of the corps, they would be surprised to hear In spite of the fact that the announced unrivaled (to date) in visual excellence. their 1977 arrangement, which is very similar, theme of the 1991 season was patriotism, no In the finale, the corps formed a large cross including the rock beat. corps at DCI Finals did a flag presentation or just to the left of the 50. The cross broke apart In its second year, the Bacchanale provided played patriotic music, except for the Troopers, as they marched an insane drill (both in tempo one of the most exciting but raucous finishes, who would not be themselves without it. and design) while playing the final strains of musically and visually, in DCI history as the However, patriotism was recognized with an the show. risqué guards’ splits in front of the horn line inspiring finale and the theme seemed to be Suddenly, out of nowhere, the cross reap- approached needing to be censored. This show picked up in 1992 by some of the top corps. peared to the right of the 50 -- an exact mirror has become an audience favorite, with a level of At finals, there was a three-way tie for the image of the earlier cross as the corps slammed emotion surpassing that of other corps. The high percussion award between Star of Indiana, down the final power cord to close the heart on the field said it all. Santa Clara Vanguard and the Cavaliers. And program. Ingenuity, beauty and superb story-telling Star was the only DCI champion in history who The epic disappearing and reappearing cross capabilities again defined the Santa Clara did not win one caption outright -- they tied for at the end of the show is considered to be one Vanguard as one of the best-staged and first in three captions. of the greatest drill moves ever and with it, a well-coordinated corps in the activity as they At Preview of Champions, when the few months before his death, George Zingali presented excerpts from the musical “Miss Cavaliers were announced in second place to sent his own spiritual message to the drum Saigon.” The corps emerged from the stadium Star of Indiana, there was massive booing to corps world. tunnel running en masse to opening positions, the point to where the announcer actually The Cavaliers presented a popular show symbolizing the American entrance into scolded the crowd. titled “The Cavalier Anthems: An Advent Vietnam. The activity again presented a wide variety Collection,” comprised of rather intellectual Sounds of a helicopter and multiple props -- of musical material -- “Miss Saigon” (SCV); versions of several Advent and Christmas carols including large, tropical leaves, matchsticks, “City of Angels” (Madison Scouts and Dutch and symphonic selections, including: Te Deum giant red banners and a huge Vietnamese flag -- Boy); “Pagliacci,” “Turandot” and Bacchanale (Ron Nelson); Die Natali (Samuel Barber); Men were symbolic of the setting of the sad love from “Sampson and Delilah” (Phantom of Goodwill/God Rest Ye Merry Gentlemen story that they portrayed. The corps did the 159

spectra, Piscataway, NJ (1991). spirit of newark, Newark, NJ (1997). twilight optimists, Fond du Lac, WI (1999). Photo by Doug Luberts from the collection of Drum Corps World. Photo by Harry Heidelmark from the collection of Drum Corps World. Photo by Harry Heidelmark from the collection of Drum Corps World. collapsing Y. sixth place with a program that left the “Selections from City of Angels”: Without You, The Blue Devils returned to high-powered, audience both amazed and bewildered. City of Angels Theme, With Every Breath I but not big-band, jazz in 1991, with one of their The Madison Scouts moved up to seventh Take, Funny and Finale. best horn lines to date and a complicated place in 1991, presenting Cy Coleman’s smash Velvet Knights presented “A Night at the musical program titled “Conversations in Jazz,” Broadway hit “City of Angels” for the first of Apollo” (theatre), Spirit of Atlanta performed including Stan Kenton/Johnny Richards’ two years. Musical selections included: music from the movie “Glory,” Magic of “Adventures in Time” (Commencement and Prologue and Theme, With Every Breath I Orlando performed music from Walt Disney’s Apercu movements) and Don Sebesky’s Bird Take, Funny and I’m Nothing Without You and “Fantasia” and the Marauders performed a very and Bela in B-flat. visuals included a spinning drill behind high entertaining program titled “Adventure on the Their music was scored with greatly rifle tosses and a drill that collapsed into a High Seas.” And for their 30th anniversary, the expanded harmonic structures and for some the massive rotating company front. Glassmen devoted their entire program to New show was considered quite contemporary and The Crossmen exhibited musical Age music of Paul Winter, David Lanz and Paul abstract. sophistication and uninterrupted program flow Halley. The Cadets of Bergen County explored a jazz with “A Pat Metheny Suite,” which included: The 1991 season became a summer of style, presenting a rather odd, but daring Minuano, Dream of the Return (ballad) and discontent, reaching a vocal pinnacle at the DCI program titled “The ABC’s of Modern American Third Wind, with Latin and Afro-Cuban Preview of Champions in Madison where Star Music,” in which the previous year’s champion, percussive effects. A trademark cross was booed for winning over the Cavaliers. One but always high-risk innovators, tackled materialized from a difficult, but smooth and of the complaints was that “they were not as extraordinarily difficult meters and scores with flowing drill. exciting.” music of John Adams, Leonard Bernstein and The Blue Knights made a surprise first By the end of the season, many fans were Aaron Copland (not in that order). appearance as a DCI finalist in 1991. Finishing lamenting on the direction the drum and bugle The opener, Adams’ minimalist A Short Ride in ninth place, the corps demonstrated maturity corps activity was taking, away from pure crowd in a Fast Machine, may have been the most and command of their high exposure program, excitement and toward a more abstract unusual piece ever performed. It had no having mastered a difficult field-encompassing exactness. Some said it not only was not melodic line, only rhythm. The drum line Zingali drill as well as the contemporary exciting, it was just plain boring. opened with 15 on quads and about 16 cymbal American compositions by Ron Nelson, However, looking back at the 1991 season, players, with 10 contra players marching Savannah River Holiday and Aspen Jubilee, and there were three somewhat liberal shows (Star, cymbals during the first one-and-one-half Aaron Copland’s Outdoor Overture. Blue Devils and Cadets) and three somewhat minutes of the show. Instead of traditional Presenting a new and sharper image and a conservative shows (Cavies, Phantom and rifles, the guard spun S-shaped substitutes for a strong horn line, the Freelancers performed a Madison) in the top seven. Santa Clara was stunning, but unusual visual effect. program of four unrelated compositions, while seen as being somewhere near the middle-of- The guard earned high honors partially due experimenting with a new concept, drum corps the road. Therefore, theoretically, the audience to their summer (blanket) sequence from in the round, performing Ralph Vaughn should have been satisfied at least 50% of the Copland’s Letter From Home, a theatrical Williams’ Hodie (“Christmas Oratorio”), Bela time. presentation which allowed the corps to tell a Bartok’s “Dance Suite,” The Kiss from “Back to Nevertheless, these concerns provided the story in an effective way. This ballad had half of the Future III” and Michael Columbier’s Bells basis for the establishment of FIFE or “Fans in the drum line dancing with the guard and the (from their 1985 program) in a different order Favor of Excitement,” with the first award to be other half in the pit and one of the best at various performances. This was one of the given at the end of the 1992 season. non-playing, non-marching use of a drum line first performances of music by Bartok in drum 1992 -- DCI’s 20th Anniversary) during a ballad was when they went to the back corps. Winning musical program played by the and arranged themselves in front of white In their fifth appearance as a DCI finalist, Cavaliers: “Revolution and Triumph”; Gavorkna sheets, standing in various Americana-style the Bluecoats remained the most pure form of Fanfare (Jack Stamp); “Cornish Dances” (Sir “father and son poses,” such as playing baseball. drum corps, performing Nutville (Silver, arr. Malcolm Arnold); “English Dances” (Sir Bernstein’s 1955 Prelude, Fugue and Riffs, Kerchner), Palookaville (arr. Kerchner) and a Malcolm Arnold); Peterloo Overture (Sir written for jazz orchestra, had a melody Whiter Shade of Pale (Reid and Brooker/arr. Malcolm Arnold). comprised of nine of the most memorable notes Kerchner). This was the best of the Bluecoats Most played selections: Robin Hood Prince ever played on the field, because the audience and they had an excellent flugelhorn soloist in of Thieves, Battle Hymn (tied) got to hear them about 84 times, and the fugue Whiter Shade of Pale. Nineteen-ninety-two was a milestone year was just “out there,” with the battery playing The Sky Ryders returned to finals (twelfth for the drum and bugle corps activity as it and marching to a strange, multi-meter place) and the Broadway stage with a celebrated 20 years of DCI competition. While pattern, while having to watch the drum major straight-forward and impressive production of the movement dates back to groups started conduct in four. “Camelot.” after World War I as part of VFW and American The Cadets had pushed the envelope with a It was tough on Dutch Boy performing Legion Posts, many see the modern era to have new style for them and found themselves in nearly the same repertoire as Madison -- grown out of the last two decades since the 160

spartans, Nashua, NH (2000). united alumni, Toronto, ONT (1999). tarrytown vfw, Tarrytown, NY (1990). Photo by Dan Scafidi from the collection of Drum Corps World. Photo by Ron DaSilva from the collection of Drum Corps World. Photo by David Schwartz from the collection of Drum Corps World. formation of Drum Corps International. “Brigadoon” by Frederick Loewe (Sky Ryders); appealing approach which was enthusiastically There were nine super-power corps in 1992. “Robin Hood, Prince of Thieves” by Michael accepted, largely because Star played In fact, each of the top six corps performed so Kamen (Southwind); Star Spangled Overture recognizable music. well that determining placements between and Amber Waves by Morton Gould (Star of Musical fragments of America the Beautiful them amounted to splitting hairs. Yet each Indiana); and various high seas pieces including and the Star Spangled Banner floated in and corps displayed special qualities that “Victory at Sea” and “Captain Blood.” out of the presentation, which included Morton distinguished it from the others. Playing music of English composers, the Gould’s Star Spangled Overture, William This was also a year of war and revolution, a Cavalier’s “Revolution and Triumph” was their Schumann’s arrangement of Chester, Gould’s year of battle plots and artillery drum solos, as first championship program and featured one of Amber Waves and Gordon Jacob’s Flag of Stars. corps advanced and retreated. The football field the all-time great drum lines, which enhanced The opening fanfare was incredible and the was transformed into a battlefield as the their revolutionary theme. The program was corps used 16 contras. Cavaliers presented a revolution, the Cadets an quasi-militaristic in nature, with elements of The program was visually spectacular and air dogfight, Star hinted at a Revolutionary War conflict and tension in the music, accompanied the Amber Waves production engulfed the GE battle, the Crossmen staged a conflict between by visual confrontation, including flag and rifle caption due to the massive, translucent murals nature and the humans who burned her rain combat. revealing scenes described in the words of forests, the Phantom Regiment presented the The show was complex, both music- and America the Beautiful, bringing something Battle of 1812, as well as “burning” Moscow drill-wise. It opened with aggressive horn totally new to the drum corps field and a new during their drum solo, the Blue Knights charts in Gavorkna Fanfare and that piece level of emotion for Star of Indiana. The corps staged the gunfight scene from “Billy the Kid,” ended with one of the prettiest designs to be really took it home at the end when they the Velvet Knights presented a battle between seen on the drum corps field. created a flag illusion with their closing drill. the Japanese gods of Winter and Summer, the Their outstanding drum line, with nine bass After a brief musical departure in 1990 and Sky Ryders had a mini-battle of Scottish clans drums for the percussion feature, explored new 1991, they returned to big band and Latin jazz and Southwind presented a battle in Sherwood stylistic modes. The battery supported the styles in 1992 with “Big, Bad and Blue,” as they Forest. revolution, trading phrases during the battle depicted the hot, steamy atmosphere of New Along with the battle plots, the flags also scene, with interesting sounds coming out of York jazz clubs and performed Harry Connick told stories of victory and defeat. Star’s show the pit. Military drum rolls drifted in the Jr.’s Blue Light, Red Light, a production of was about the American flag, the Cavaliers’ distance throughout the program. Johnny Richards’ Cuban Fire, followed by El show was about a battle in England -- thus, the Twisting, sliding, collapsing geometric Congo Valiente (percussion feature), Fuego Cavalier’s green British flag -- and the shapes phased in and out of the drill in an Cubano and La Suerte de los Tontos. distressed flags of many nations at the end of almost three-dimensional manner from start to Their closing number, When a Man Loves a their show. finish. A shifting and rippling parallelogram Woman from “The Rose,” was a sizzler at finals Phantom told a story about the French flag moving from left to right midway through the as a sultry co-ed guard routine was combined and the defeat of Napoleon’s army and the program was a showstopper. with jacket-less horn performances. Velvet Knights reflected on the collapse of the David Holsinger’s “To Tame the Perilous Madison blended superb programming with Communist regime and thus the collapse of the Skies” was conceived as a programmatic work every trademark Madison effect imaginable to flag as well -- “the party’s over.” literally depicting two opposing forces colliding create a powerful corps and audience Lime green was a popular color for flags this in battle at the Battle of Britain. The highlight experience as they reworked their “City of year, the brightest flags were found in the Blue of the program was the rotating airplane form, Angels” production for a second year. The 1992 Devils, and the Freelancers had the most complete with propellers. selections were: Prologue and Theme, L.A. gorgeous silks to accompany their Walton By the end of the season, the Cadets finally Blues, You Gotta’ Look Out for Yourself, With program with a gold visual through-line. found the right combination of supercharged Every Breath I Take and Funny. This second Once again repertoires ran the gamut. tempos, controlled dynamics and execution version has one of the best drum solos ever. At Some of the musical selections included: “To levels which allowed their performance of this finals they had the most intensity of any corps Tame the Perilous Skies” by David Holsinger work to take off, challenging the best of their that night. (Cadets), a single-movement composition past accomplishments. In the opinion of many In 1992, the Crossmen accomplished one of written in 1990 to commemorate the 50th fans, the Cadet’s color guard performed the the most difficult feats in DCI, beating anniversary of the Battle of Britain; “Lord of the most beautifully-choreographed show and they Phantom and Santa Clara, and breaking into Rings” by de Meij (Black Gold); music of had the best executed and exposed horn line. the elite top six with New Age and original Lennon and McCartney (jazzaphonic) After their glittering championship season music in a consciousness-raising presentation (Bluecoats); “Red Pony” by Copland (Blue in 1991, Star returned in 1992 with a more of environmental awareness that could be Knights); the Broadway musical “City of down-to-earth drum corps show. With appreciated on many levels. Angels” by Cy Coleman (Madison -- second “American Variations,” Star of Indiana unfurled Their inspiring “Songs for the Planet Earth” year); music of Danny Elfman (Magic); themes a magnificent patriotic program with allowed them to demonstrate mastery of from Tchaikovsky’s war pieces (Phantom); redesigned uniforms and a fresh new crowd- multiple meters and subtle mood changes with 161

teal sound, Jacksonville, Fl (1999). blue saints, Sudbury, ONT (1999). ridge raiders, Hamilton, ONT (1999). Photo by Harry Heidelmark from the collection of Drum Corps World. Photo by Ron DaSilva from the collection of Drum Corps World. Photo by Dan Scafidi from the collection of Drum Corps World. an outstanding drum solo and drum line that Anatekva. The Velvet Knights were justly rewarded for played so well together, they made it look Phantom Regiment’s 1992 “War and Peace,” their efforts as the first FIFE recipient of effortless. consisting of Tchaikovsky’s Marche Slav and $1,000, which was awarded to them for The music included: Sweet World relying heavily on the “1812 Overture” (with performing to the crowd and making the 1992 (Stoltzman), The Beauty of An Appalachian the Marsellaise theme) did not have the same season a little richer for all. Morning (Paul Winter, Paul Halley), The Four dramatic impact as their brilliant 1984 In spite of a blasé attitude (they actually Elements (original by staff member Matt presentation of the “1812 Overture.” Although threw a dummy dressed up like a judge over the Krempasky), The Rain Forest, Full Circle (arr. they burned Moscow during the 1992 show, the horn line at the end of a sequential flag toss), Mark Thurston) and Journey Under the Sun corps did not catch on fire in the same way. this corps could also march and play. (Paul Winter). Their traditional box cross-through was The Bluecoats made a season of revisions to During the final musical selection, the expanded to a triple box cross-through -- three their one-year experimental jazzaphonic Beatles horns moved into the back right of the field and diamonds merged into one -- and the corps show, “A Day in the Life,” which included Long formed the Earth for the final time. Some produced a festival of flags. In this year, the and Winding Road (Bruce McConnell’s unique statements were made in this Regiment expanded their bari/euphonium line “Jazzaphonic”), Penny Lane, A Day in the Life program -- an original composition, an infinity to 24 and this was the last season Phantom and Eleanor Rigby. Their big-corps presence sign and a question mark -- a unique signature marched French horns. with a big brass sound, powerful opening for a program and especially for the retreat, and In “Portraits of Aaron Copland,” the Blue statement and lush ballad kept them in the top a trend for continuing the program and its Knights presented a fresh approach to a nearly 12, even though the show did not sell as well as message into the next season. all-Copland show with a Western theme (“Billy in some past years. The 1992 season was also notable because of the Kid,” “Corral Nocturne,” “Red Pony”) and In what would be their last finalist the 25th Anniversary of the Santa Clara “Chorale and Shaker Dance” by John Zdechlik. appearance, the Freelancers hung onto twelfth- Vanguard’s founding. To top it off, the The show was filled with many subtle effects, place spot by a mere 0.1 of a point, making the Vanguard would be performing a program of the color guard made major strides in most of a rather tough musical program “Tradition and Celebration” using selections expressiveness and the drum line nailed some including William Walton’s “First Symphony,” from “Fiddler on the Roof,” a musical that had of the most difficult and exposed writing ever by delivering a solid, well-coordinated served as a major source of repertoire during attempted and presented the most convincing production with trademark class and their early years. And they planned to bring battle of the season -- a stereophonic refinement. back remembrances from their 1971 percussion battle, written by Ralph Hardimon. The huge flags of beautiful material and performance. The visual program featured one of the most gorgeous colors with a gold visual through-line The finals show celebrated the essence of interesting drills on the field and there was a made the program memorable. The corps’ last the activity -- pure drum corps, emphasizing very sensitive soprano soloist. year of competition would be 1994. the marriage of music and marching, with a Many feel that 1992 was the most Although they continued with a musicale single flag design and no props or uniform entertaining year of the Velvet Knights, who program, the Sky Ryders again dropped out of changes. However, this was not the program moved back into finals after a year’s absence the top 12 for the final time with their that one would have seen or heard earlier in the with a revival of their previously successful presentation of “Brigadoon” which placed them season as they had taken out all of their “Magical Mystery Tour” concept, a new itinerary fifteenth. equipment and color except for the Star of of destinations and the most gala party they’d The Colts moved up two spots with many David flags. ever thrown. style changes; Carolina Crown came into the Gone were the Menorahs, the gold flags and These clown princes of drum corps delivered top 25 playing “Dances” of Malcolm Arnold, the music Sunrise, Sunset. Gone were the a spectacle loaded with more effects than one using some of the same music as the Cavaliers; benches, the original uniforms, the 1970s flag could possibly keep track of. Even in the last the Marauders had a particularly entertaining presentation, the silver-sparkle drums, the two performances, they added new and brilliant program in their second year of “Adventure on maple-leaf flags and the peasant dresses. gags that kept the audience in hysterics. the High Seas,” with every prop imaginable that Although it was probably in response to the The closer, “Hungarian Dance #2,” one would connect with the sea and pirates; and judges, symbolically, they had removed all of unexpectedly segued into the “Jaws” theme as a Boston played Russian music, selections from their equipment just as the Jews had to do huge shark shot out from the pit, captured the Mussorgsky’s “Pictures at an Exhibition,” once when they were forced to depart from Anatekva, portly Wagnerian opera diva in its jaws and again proving themselves a survivor, even making the important point that all that the swept her off the field. The airborne judge and though they had never made finals. people had left was their tradition which, in this (almost) bottle dance were priceless. Selections from “Lord of the Rings” was case, was a roaring audience response to the The Energizer bunny made his trip around played by Black Gold in 1992 and 1993, bottle dance. the black cage -- out one side and back in the Allegiance Elite in 1996 and 1997, Les Senators Musical selections included: Tradition, other all season long. But on finals night there in 1998, Tokyo Phoenix in 1999 and the Patriots Sabbath Prayer, To Life, Tevye’s Dream, stood Godzilla, ready to devour him, so he had in 2001. And Delta Brigade played “The Music Wedding Celebration and Bottle Dance, to go back in the way he came out in a hurry. of Elvis Presley.” 162

sky ryders, Hutchinson, KS (1986). connecticut vagabonds, Torrington, CT (1987). star of indiana, Bloomington, IN (1985). Photo by Orlin Wagner from the collection of Drum Corps World. Photo bu Moe Knox from the collection of Drum Corps World. Photo by Dick Deihl from the collection of Drum Corps World. George Zingali as interpreting his visual program. this season, with many corps changing their Drill innovator George Zingali passed away In 1992, a new percussion division joined style or seeking out previously unknown March 6, 1992. While working with the 27th the already thriving color guard division of WGI selections. Lancers, Zingali brought double silks, while at reflecting the growing interest in marching The Cadets of Bergen County’s elaborately the same time motivating the corps members percussion ensembles, which were already produced and powerfully-performed the into performances never before witnessed. The being seen in other venues such as Bands of symphonic wind arrangement “In the Spring At guard became more than just a backdrop to the America and the Rocky Mountain Percussion the Time When Kings Go Off to War” and drum corps, an integral, exciting part of the Association, which was formed in 1991. continued their tradition of excellence and entire corps performance. The WGI percussion competitions began to professionalism. The ballad was from Prior to 1983, drum corps was one line that grow at such a rate that their classification Holsinger’s “Hymnsong by Philip Bliss” and gated and moved. Zingali brought the idea of process paralleled that of winter guard and there was a percussion introduction to begin the reshape to the activity, forming all different increased steadily to accommodate more and the “Ballet Sacra” finale. shapes and movements, consequently taking more percussion lines and, by 1999, it would With a coed guard of 36 -- dressed in drum corps to an entirely new level -- always offer eight classes of competition, some of medieval costumes and using large swords -- pushing the limits and sometimes even hitting which would be identified with the artistic title they performed at finals for an enthusiastic the competition field with the members while “percussion theatre.” audience which included the composer, David simultaneously experimenting with new moves. One of the “cutting edge” contenders for a Holsinger, who had composed the ending Zingali created the Z-pull and was the first title at WGI in 2002 is the Freelancers, the specifically for their show. Their crown drill to implement high speed drills involving the former drum and bugle corps from was one of two of the season. percussion. Sacramento, CA. Star of Indiana chose to push the limits of His secret to visual design success was to 1993: The year of audience discontent the activity with their show in 1993. Playing spend thousands of hours on each program he Winning musical program played by Cadets incredibly difficult and rather inaccessible produced, continuously striving to make each of Bergen County: “In the Spring At the Time music -- Meditation from “Medea” by Samuel one the very best it could be. When Kings Go Off to War” (David Holsinger). Barber; Allegro from “Music for Strings, He went to art museums and libraries, Most played selection: “West Side Story.” Percussion and Celesta” by Bela Bartok, and always trying to find new forms of art and Nineteen-ninety-one was a year of fan Dance of Vengeance from “Medea” by Samuel new ideas. His inspirations came from pictures disappointment because of the perceived lack of Barber -- they presented one of the most he saw, books he read, anything he came entertainment value displayed by the top corps. innovative shows in drum corps history, but across. A summer of malaise followed in 1992, offset also one of the least liked shows by the fans. He worked with many corps over the years, somewhat by DCI’s 20th Anniversary The corps hired several movement including the 27th Lancers, Cadets of Bergen celebration. Sadly, 1993 progressed to the specialists to choreograph the show, adding County, Blue Knights and Star of Indiana. His summer of anger. body sculpting, avoiding traditional drill for the great success on the drum and bugle corps field This year reached the height of controversy most part and dropping the frequent impact came while working with Cadets of Bergen and audience dissatisfaction with esoteric drum formula altogether, with long periods of silence County for six years during which time the corps programs and will be remembered as the or barely audible dissonance. Cadets won the coveted DCI World year that Star of Indiana pushed the envelope of The show was designed on the concept of a Championship four times. creativity in its forward-looking production scalene triangle -- this geometric form can be In 1990 and 1991, Zingali worked with featuring the abstract music of Samuel Barber seen in the drill, in the guard implements, in another world champion, Star of Indiana, and and Bela Bartok in a self-described minimalist the body movement and in the overall flow of created incredible drills including the amazing approach to visuals, but also pushed beyond the the three main show segments. Their series of high speed stars in 1990 and the musical endurance of the audience. minimalist approach to both musical and visual mysterious double cross appearance on either And, expressing a desire to push the aspects of the program showed off the side of the 50 in the 1991 championship show. envelope even beyond the limits of drum corps tremendous talent and control of both the Zingali also dominated the winter guard rules, the Cadets of Bergen County gave musicians and dancers (who also demonstrated circuit in the early 1980s. He was widely consideration to actually removing themselves how many ways a long pole could be used). known for his breakthroughs in design while from competition in order to experiment with Even though the show was not a crowd working with Quasar and Erté Productions, two band instruments. favorite, one had to respect the difficulty of the of WGI’s most innovative units. The winning Cadets played a single music and the incredible level of performance With George Zingali, music was motion and composition. The Colts and Glassmen, both of the musicians. The members of the what was understood as “visual musicality” to newcomers to the top 12, played New Age outstanding horn line demonstrated a wide everyone else, to George was “musical music. Both the Cavaliers and Cadets played range of dynamics, fancy footwork and visuality.” In other words, while everyone else music by David Holsinger and Blue Devils and expressive hand motions. envisioned the visual program as interpreting Madison played Strawberry Soup. There was an incredible minimalist drum the music, George may have viewed the music The choice of music was quite varied again solo. In the last movement of the show, the 163

guardsmen and col. sanders, Mt. Prospect, IL (1975). Kentucky santa clara vanguard, Santa Clara, CA (1982). cavaliers, Park Ridge, IL(1978). Fried Chicken commercial. Photo from the collection of Drum Corps World. Photo by Ed Ferguson from the collection of Drum Corps World. Photo by Dick Deihl from the collection of Drum Corps World. bass drum line was split 2/3 on opposite sides of The guard was outstanding, one of the best The concluding Encore, an original ballad the field, 1 and 2 on one side of the field, 3, 4 of the year, and one of the best ever for by staff members Scott Boerma and Taras and 5 on the other side and they were playing Phantom. They were very weapons-oriented Nahirniak, combined elements of jazz and runs. and were tossing flags and rifles throughout the samba. Their trademark fleur de lis drew Rebuffed by fans who had developed a entire production. In both 1993 and 1994, enthusiastic applause. dislike of the corps and this show in particular, Phantom had a moveable stage with their pit on After several years of theatrical productions, after winning the last major regional before the field. It was innovative and gave a different a “new” Santa Clara Vanguard returned to the finals, they were booed off their own home visual perception of what was going on. pure classical style for which it had become field. Along with wide-open jazz music charts and famous. A summation of their regal “Walton Despite nearly flawless execution, Star lost an assortment of squealing soloists, the Blue Trilogy” program would read like a SCV history the world championship by a few-tenths of a Devils’ color guard used giant paint brushes to book -- elegant arrangements of symphonic point. In spite of their unpopularity that year, sketch a musical and visual portrait of Don works, concluded with a trademark company nearly 10 years later, this show is remembered Ellis’ music, including Open Wide/Great Divide, front and end-zone pinwheel exit, updated with as one of the most innovative in drum corps Chain Reaction and a swinging Strawberry a contemporary color guard program, slow- history and time and distance has made the Soup/Niner Two with a cool, jazzy horn line. motion marching, one of two crown formations 1993 Star of Indiana venerated by some fans. The defending champion Cavaliers presented of the evening, metallic sounds from the pit, a Star proved that minimalism can work on a “Heroes -- Symphonic Trilogy” in which they company front and gorgeous butterfly flags. football field and produce a crowd-pleasing maintained a tradition of innovation while The Walton music included selections from show that doesn’t always please the crowd. remaining true to their heritage with a Johannesburg Festival Overture, Richard III One writer said, “It was almost like collection of visuals from their most recent and Agincourt Song from “Henry V.” watching a concert wind ensemble dance across competitive successes. In the second installment of their the field” and the next year that is exactly what The program contained Symphonic Cantata consciousness-raising attempt to preserve the Star of Indiana became as the corps departed by David Holsinger, Heroes, Lost and Fallen by planet, “Songs for Planet Earth, Part II: A DCI and combined with the world-famous David Gillingham and Morning Alleluias for the Celebration of Humanity,” the Crossmen paid Canadian Brass for a stage production called Winter Solstice by Ron Nelson. tribute to the diversity of people on our planet “An Evening of Brass Theatre.” The “conflict and triumph” Cavalier show and visited several nations through their music The Phantom Regiment received at least five was influenced in part by the struggle of their and visuals. standing ovations for their finals performance own hero, Steve Brubaker, who lost his battle The program opened with Paul Winter’s of “The Modern Imagination,” a program which with cancer in January, 1993. Brubaker was a Journey Under the Sun, followed by signaled the beginning of several years of tremendous loss to the Cavaliers and to the “Afro-Brazilia,” which mixed the joy of the darker, more contemporary repertoires. entire drum and bugle corps activity. He was Brazilian carnivale with Full Circle’s The quiet opening sounds of Ginastera’s largely responsible for bringing the Cavaliers to African-inspired Myth America, featuring “Estancia” ballet (played also in 1979) that their height of visual (and musical) brightly colored garbage can drums -- possibly emanated from the pit were obscured by the sophistication. showing the influence of Stomp. overly enthusiastic crowd which went wild for His geometric drill designs, which he Dave Brubeck’s Japanese Koto Song the crab-stepping horn wedge in the Danza referred to as “intersected form manipulation,” celebrated Oriental culture with blues inspired finale, which ended with a “360,” then dispersed where “solid forms are suggested or created by by celestial sounds of 13-stringed Japanese into all directions to form a triangle to finish the intersection (meeting points) of lines, with instruments visually accented by rising sun off the Malambo from “Estancia.” the addition of more lines, creating more forms flags. Gene Friesen’s River Music and the One of the most beautiful pieces ever heard within the context,” yielded some of the most Yellow Jackets’ Frieda were combined into on the drum corps field, enhanced by a beautiful and smoothly flowing drills in the “Freedom,” celebrating our own culture with magnificent line of six baritones and 18 activity. Brubaker accredited this hoedown sounds and cow print flags and euphoniums, was Shostakovich’s Fire of Eternal accomplishment to the fact that he wrote for selections from “Anthem for Humanity” Glory from the “Novorossik Chimes for short musical phrases. concluded the program with an array of Orchestra,” which brought the audience to its He referred to lines crossing lines and forms fanfare-like-musical passages and excellent feet in yet another ovation. merging into forms and sharing space as “form drumming. Strains of Copland’s Fanfare for The final piece, movie composer Bernard invasion.” Brubaker had also served as visual the Common Man were interspersed Hermann’s “Death Hunt” from On Dangerous designer for Star of Indiana in 1988 and 1989. throughout the program and “Bones” made his Ground, with an angular stair-step drill and a The Madison Scouts’ “Reflection and annual appearance. huge triangle, brought Phantom’s show to a Evolution” flashback (to 1981) show of musical The Bluecoats returned to their tradition of wild, frenzied ending (just as the Saint-Saens and visual motifs presented two big hits from 1940s standards and big band sounds with Bacchanale had done in 1990 and 1991). The the past and one brand new work. The program “Standards in Blue -- a Tribute to Dizzy entire visual program was based on the designs opened with Louis Bellson’s Numero Uno, Gillespie.” The music, all in the be-bop style of artist Henri Matisse. followed by Don Ellis’ Strawberry Soup. that Dizzy helped to found and nurture, 164

bridgemen, Bayonne, NJ (1976). carolina crown, Ft. Mill, SC (2001). alliance, San Diego, CA (2001). Photo by Ed Ferguson from the collection of Drum Corps World. Photo by Ron Walloch from the collection of Drum Corps World. Photo by Karen Sunmark from the collection of Drum Corps World. included: Jerome Kern’s All the Things You Are, selections was booed in 1993, the dissatisfaction rhythmless and things we had never heard and Thelonious Monk’s ’Round Midnight and of drum corps fans went well beyond that one didn’t want to hear again.” Gillespie’s A Night in Tunisia. corps, so much so, in fact, that Drum Corps “Everyone’s taste is different. The activity Featured in the program were a jazz-ride World newspaper was filled for months with has progressed to a stage where it is ignoring cymbal pattern, lots of horn syncopation, great distressed letters to the editor about the its roots, which are clearly planted in a soprano soloists, pseudo horn players -- guard esoteric music and abstract programs. military-style, youth-oriented activity, originally members with saxes and clarinets (props), a Sample comments on the designed to take kids off the street and teach Dizzy-style trumpet and a variety of ethnic State of the Art in 1993 them music, respect, camaraderie and goal percussion instruments and African rhythms. Here is one of the letters, written by Dr. achievement.” The Blue Knights presented “The Next Rosalie Sward, author of this music history: “There is a perceived absence of those Generation -- Musical Selections from “Star “For the average drum corps concert-goer, a traditional tenants of the activity -- quality Trek,” a program of music both difficult to play program that contains nothing but 20th drumming, bugling and marching. There and to understand. The surreal color guard Century classical music is a bit too much. continues to be a cry for ‘the days of real drum presentation questioned where drum corps of “Let’s go down the lineup in 1993. Cadets corps’ and ‘back when’.” the future will go. This may have been the only of Bergen County -- music by 20th Century “Any drum corps production, no matter how corps to have done an extensive program of American composer David Holsinger; Star of far afield it may seem from the roots -- the music from “Star Trek.” Indiana -- music by 20th Century composers history of the activity is, in fact, inextricably The 1993 season was another for the bottom Bela Bartok and Samuel Barber; Phantom linked to the fundamental precepts -- the finalist spots. The Glassmen (eleventh) and Regiment -- music by 20th Century composers traditions of the activity. So, in the end, the Colts (twelfth) made it in, but VK (thirteenth) Albert Ginastera, Dimitri Shostakovich and drum corps that succeeds always possesses the and Boston Crusaders (fourteenth) did not. Bernard Hermann; Cavaliers -- music by 20th same traits -- quality drumming, bugling and The finalist rookie Glassmen presented “A Century composers David Holsinger, David marching in no matter what framework it is Voyage Through Imagination” playing Gillingham and Ron Nelson. Need I go on? placed. It is still an activity for young people.” selections of New Age composer, David “Much of this music has an aggressive, “Where is the music you can recognize? Arkenstone: In the Wake of the Wind, Overture, disjunct, percussive and biting or even angry Where are the stirring moments? Today a corps Morning Sun on the Sails, The Lion’s Breath, nature, with little melodic content that the ear will hold a front for a heartbeat, then it is gone The Stardancer and Sailing, ending with a can hold onto or harmonic content that is and on to the next fleeting formation. Where is traditional finale and a formal symphonic pleasing to the ear. One or two of these pieces the exciting color guard work (remember the ending, complete with timpani rallentando. or programs in an evening’s entertainment 50-yard close order drill and closing color The rookie Colts were the surprise corps of would be fine, but a steady diet of this is MUCH present by the old Phantom). Now I can the season, as they passed the Velvet Knights too MUCH! remember only one color guard routine from and Boston to make finals for the first time. “It seems that our top drum corps have the top four corps -- the Cavalier’s flag toss.” They presented a program of New Age musical somehow gotten the message that they have to All of this dissatisfaction must have helped selections that visited Iowa’s four seasons, play 20th Century classical music to win or to inspire a survey taken by Bill Howard at the including a medley of Christmas carols, John rank high in DCI and then many of the smaller end of the 1993 season (announced in Tesh’s 1000 Summers, Gershwin’s corps feel compelled to follow suit. September, 1993, and appearing in the January, Summertime with some excellent soprano “No matter how good the visual program is, 1994, Drum Corps World). This survey revealed soloists and Dave Grusin’s The Heart is a the musical program makes the more powerful some of the following observations about drum Lonely Hunter, with a great finale drill. impression. Too much angry music makes the corps music: The Velvet Knights presented “Looney audience angry that they have to put up with it. “One of the most obvious conclusions one Tunes” -- Melodies from “The Barber of Seville,” Put some music in each program that has some can draw from this survey is that people are “Marriage of Figaro,” William Tell Overture melodic content, consonant harmonic beauty grossly dissatisfied with the entertainment level (drum solo) and Liszt’s Hungarian Rhapsody, and which stirs positive emotions that make the of this year’s shows. The entertainment all done with a theme of Looney Tunes. listeners feel good. approval rating is only about 5%. Spirit of Atlanta returned to gospel charts, “Have variety in your program which “Responses to the questions about the most Magic of Orlando presented the first chapter of provides a contrast between the musical entertaining corps in 1993 showed that there music from “Cirque du Soleil” and in their numbers, so that there is some relief and were very few top-12 corps that enjoyed a “Symphonic Portraits of Mexico,” the relaxation from all the anger, angularity and favorable reputation. Marauders presented La Fiesta Mexicana (ala intensity. The ear can take only so much and “Phantom Regiment was the clear leader, 1974 Purple Lancers) and the Freelancers did a then becomes too tired to listen and doesn’t being selected on 70% of the responses, Bill Chase show, with a much-touted soprano wish to come back and be further annoyed.” Madison Scouts and Cadets of Bergen County line that became a favorite with many fans. Comments by other writers, regarding the were virtually tied at 50%. The next best was Although Star of Indiana’s minimalist state of the times, included the following: Colts at 35% . . . In the 13-25 category, Velvet program of Bartok and Barber musical “Music has been unenjoyable, forgettable, Knights and Troopers were the clear favorites, 165

capital sound, Madison, WI (2001). capital regiment, Columbus, OH (2001). blue knights, Denver, CO (2001). Photo by Harry Heidelmark from the collection of Drum Corps World. Photo by Ron Walloch from the collection of Drum Corps World. Photo by Moe Knox from the collection of Drum Corps World. with Dutch Boy gathering considerable support. dramatically precise performances may popularity, they are currently a corps that “There were large numbers of surveys which overcome poor musical selections and still receives favorable reviews from the fans. indicates that people were more entertained by provide overall satisfaction to the spectators, “Without an enthusiastic audience, the 13th to 25th place than by the top 12. but if the musical selections do not connect, members are deprived of their major “95% of the people felt they were not the program will always operate at a motivation to perform well. entertained up to the level of their expectations. disadvantage and will never have the maximum “Evolution is all right, but revolution is “The main message is that, despite the fact possible audience (and probably judges) clearly unacceptable. There is very little that ours is a highly-educated, knowledgeable satisfaction. support for radical changes in instrumentation and sophisticated audience, when they go to a “Other items mentioned were a need for or programming approaches. The things that drum and bugle corps show, they want to be balance in selections. The music does not need worked in the past will, with modest updating, entertained in the manner they expect. They do to be trivial to be entertaining, it does not need work now. The major role played by emotion not want to be educated. to come only from certain composers, it can be will never change.” “They are very traditional in their serious in nature and still connect with And a positive comment: expectations. This does not mean that audiences. “I loved the pageantry of the Cadets, the designers should consult tapes from the 1970s “After the musical choices themselves, the colorful sound of the Cavaliers and the dark and recreate those shows. What it does mean is next most important influence on audience anger of Star. But the show that cemented my that people don’t want to hear obscure music, enjoyment is the presentation by the brass addiction was “The Modern Imagination” by have new instruments introduced into the section. Ours are very traditional and Phantom Regiment.” performances or replace entirely traditional flag conservative audiences and these audiences 1994 and rifle work with ballet and weird props. want traditional flag and rifle work along with Winning musical program played by the “It is clear, beyond any shadow of doubt, other art forms. A significant number of Blue Devils: “My Spanish Heart”; Spanish that the single most important item for the responses had negative responses with Fantasy Part 1 -- Night Streets; Day Danse -- fans’ enjoyment of a program is the selection of reference to ballet. My Spanish Heart; Spanish Fantasy Finale. the music. It is evident from other answers “One other very popular element in Most played selections: “West Side Story,” that the style of music is not controlling and, determining people’s level of enjoyment is the ”Hook,” ”Beauty and the Beast” (tied). indeed, people seem to express a desire to have precision for which the drum and bugle corps On January 20, the Troopers appeared in a variety of types and styles. activity is famous. Even sheer precision alone newly-elected Bill Clinton’s inaugural parade. “What they clearly want is music that they can be exciting enough to overcome weak show It was a year of dark programs, dark can identify with. This is the area where the design. uniforms, dark music and primal drumming, most detailed writing was expressed. “Apparently the most memorable with authentic native rhythms and instruments “People identify with music that stirs their performance in people’s minds was of Santa heard in the programs of Blue Devils, Cavaliers, emotions. The emotions may be stirred in Clara’s presentation of “Phantom of the Opera.” Phantom Regiment, Madison Scouts and Magic many ways and the more ways we use, the more In addition to being the single most popular of Orlando ability we have to satisfy a broad, cross-section show, Santa Clara would appear to have been The champion Blue Devils finished an of audiences. the most popular corps over the years, with undefeated season with a hot theme, “My “For example, soft music can be several programs that are mentioned among Spanish Heart,” displaying their versatility with spine-tingling or cause the hair to stand up on the most memorable. Latin jazz styles, fantastic soloists, unbelievably our arms (Send in the Clowns, The Way We “It is significant that, although the Blue clean brass with “wicked” mid-voice runs and Were, Danny Boy, Brian’s Song, etc.). Patriotic Devils have achieved a level of long-term pounding rhythms, representing heartbeats as music can trigger emotions of pride and satisfaction in people’s minds, fans generally well as passion, played by one of their strongest excitement (Battle Hymn, Stars and Stripes cited performances from the 1970s and 1980s percussion lines, which wove through a block -- Forever, When Johnny Comes Marching as favorites. Also, in the case of Star of Indiana, and one of the best guards. Home). Still other music can cause toe-tapping the popularity stems from earlier years, while All musical selections were by Chick Corea, enjoyment or just plain good feeling (various the 1993 show was singularly unpopular. a musician with whom the Blue Devils had a Walt Disney tunes). “From the foregoing information, we can long-standing relationship. For the past 30 “Some music is appreciated for the majesty conclude that audiences appreciate variety and years, the innovative jazz artist and composer and grandeur it portrays (“1812 Overture,” excellence. Certainly no two of the five top Chick Corea has stood at the forefront of the Rhapsody in Blue, etc.). The choices and styles corps are alike in their styles and regularly jazz idiom, not only as an exciting and available are endless. Variety is available and produce programs that are executed extremely innovative performer, but as a true jazz desirable, but the common thread is that the well. We can also see it is unwise for other composer. musical selections must connect with the corps to copy styles of the most popular corps. Throughout the years, he has composed and audience. Everything else flows from that “A good example of a corps trying to move performed hundreds of classic recordings in his connection. up and develop their own style is the Colts. own unique style. No stranger to drum corps, “Extremely strong visual programs or Although they have not yet achieved long-term Corea marched in the early 1960s with the St. 166

colts, Dubuque, IA (2001). glassmen, Toledo, OH (2001). decorah kilties, Decorah, IA (2001). Photo by David Rice from the collection of Drum Corps World. Photo by Richard Wersinger from the collection of Drum Corps World. Photo by Ron Walloch from the collection of Drum Corps World. Rose Scarlet Lancers from Chelsea, MA. An adaptation of sensitive body movement children playing games, to driving percussion This show was a great overall package and to music and the guard’s extremely original and an upbeat jazzy sound. introduced us to the modern Blue Devils. Some work with ropes and heavy wooden beams set The show closed with a remembrance of the fans have considered “My Spanish Heart” to be new standards for working with unusual first two years of the trilogy, with flags of many the best DCI show ever. equipment. nations and four large children’s flags in the In their 60th year, the Cadets new “West Santa Clara Vanguard presented the first major racial colors of the planet. At the end of Side Story -- Hot and Cool to Go” theme show Soviet realist ballet, Reinhold Gliere’s “The Red the show (and the trilogy), the Crossmen was popular with fans and the guard continued Poppy.” This rich program featured an array of spelled out “Children Are the Future” by laying in a story-telling role. Selections were: Mambo, visual and musical imagery from both Oriental themselves and equipment down on the field. Cool, Prologue, Something’s Coming, A Boy and Russian cultures, as 16 large red poppy The Bluecoats presented an upbeat jazz Like That and Finale. props moved about the field to enhance each theme show called “Blues.” Musical selections Inspired by the bold black and white images number. included Things Ain’t What They Used to Be of Spanish painter Joan Miro, the Phantom Chinese Dances was superbly presented by (Ellington), strong solos and jiving percussion Regiment combined sophisticated passion and all sections of the corps and the finale of added to Charlie Parker’s Blues for Alice, with primitive power as they rediscovered the works Russian Sailor’s Dance concluded a visual and the guard visually using saxophones, a Latin of three 20th Century composers not well musical trip that was vintage Vanguard; high interpretation of the melancholy In a known in drum corps circles. In their drama and sharp character portrayal, with the Sentimental Mood (Ellington), a classic blues presentation of “Songs for a Summer Night,” appearance of a dragon and the old Santa Clara feel/be-bop shuffle of Sandu (Ellington) and they captured the excitement and emotion of “magic,” with a surprise appearance of Chinese concluding with C-Jam Blues, a raucous music for the dance, concert hall and cinema. maidens, followed by a surprise disappearance celebration of life, interpreted by a jam session. Manuel de Falla’s El Amor Brujo featured of a single Chinese maiden at the end. The Glassmen fused classic drum corps exotic rhythms of gypsy dances, including a In their first year of a trilogy of Latin jazz, movement with dance troupe choreography in hypnotic Ritual Fire Dance and incessant Latin the Madison Scouts presented Louis Bellson’s their takeoff of a Moody Blues album “Days of percussion building to a violent climax of Santos, featuring Latin jazz sounds and a Future Passed,” which had combined elements dissonant harmonies. superb percussion feature with cymbals in front of rock and roll with a symphony orchestra. The beautiful centerpiece, Claude Debussy’s of and behind the snares. The corps presented a musical and visual translucent Suite Bergamesque (Clair De Lune Gershwin’s Cuban Overture presented “day” through Peter Knight’s Dawn, Another translated as How Clear the Moon) provided a sounds in a variety of modes, with authentic Morning by Ray Thomas, Peak Hour by John sharp contrast to the fiery drive and energy of Latin percussion instruments and authentic Lodge, Tuesday Afternoon and Nights in White the first selection and to the ancient textures Spanish sabres. Bill Holman’s Malaga, written Satin by Justin Hayward. and aggressive rhythms of the closing “Cinema for the Stan Kenton orchestra, was classic In their first DCI Finals appearance, Magic Suite,” based on film scores of Bernard Madison, with a wild buildup that did not stop. of Orlando presented a highly entertaining part Hermann (White Witch Doctor and Death Hunt The drill had floating geometric designs that two of their “Cirque du Magique” (based on from “On Dangerous Ground”), during which blended smoothly into other forms and a Cirque de Soleil), visiting unusual places, the percussion section used authentic tribal feature with the guard all on rifles. including a three-ring circus, with the guard rhythms and handmade primitive drums to The Blue Knights presented “Trittico for using stretch fabric to recreate forms bring legends of Africa to life. Brass Band,” one of their most appealing shows reminiscent of Mummenschanz mime troupe. White Witch Doctor was a shocking change ever, with fast-moving drills, accompanying the The music, written entirely by Dr. Robert of pace, with strong African rhythms, forceful musical variations of band composer James Smith, included “Cirque Fanfare and visuals and pounding brass and Death Hunt, Curnow’s “Trittico” triptych, based on a 19th Procession,” Odyssey and Shango, which with its cacophony of sound and dazzling fast Century hymn, Consolation. This piece earned featured wild African drumming to accompany moves, included the full-brass crab walk. The the corps their highest placement to date primal dancing of the futuristic guard. program was played with a well-balanced horn (seventh) and they would again program it in The Colts won the last spot from Boston at line from top to bottom. 1999 for another seventh place. This has semi-finals with their theme of “Relations and The Cavaliers presented another dark become a fan-favorite for the Blue Knights, but Romance” and gained fan acceptance by playing program (challenging to both the corps and the this was not the first time it was performed in recognizable tunes: Smile/Almost Like Being in audience) titled “Rituals.” The show opened drum corps, as the Geneseo Knights played it in Love, Lover Man and Pursuit, the percussion with Silvestri Revueltas’ forceful Sensamaya 1984. feature and Higher and Higher (which could (Chant to Kill a Snake); followed by Humming “Suite Children” was the final chapter of the have been called faster and faster because they Chorus from “Ivan the Terrible” (Prokofiev); Crossmen’s three-year series, “Songs for Planet were marching the second half at 216 beats per War Dance from “Belkis”; Queen of Sheba Earth.” Supported by Chuck Mangione’s Land minute). (Respighi); St Michael the Archangel from of Make Believe, Stephen Sondheim’s Children At the 1994 DCI Finals, the 27th Lancers “Church Windows” (Resphigi); and March from Will Listen, Pop Goes the Weasel and “Songs Alumni corps may have received the longest “Symphonic Metamorphosis” (Hindemith). for the Planet Earth,” the guard was dressed as standing ovation ever for a very moving 167

east coast jazz, Malden, MA (2001). bandettes all-girl, Sault Ste. Marie, ONT (2001). impulse, Orange County, CA (2001). Photo by David Rice from the collection of Drum Corps World. Photo by Larry Stolldorf from the collection of Drum Corps World. Photo by Robert Westerman from the collection of Drum Corps World. performance of Lancer standards, Crown On entertainment and crowd appeal 1985 “Planets,” which was revised in 1995, with Imperial and Danny Boy, by a corps numbering At the end of the 1994 season, Drum Corps Venus replacing Uranus and a slight change in about 300, including 27 rifles, 45 flags, 28 World staff writer Gregg Strand conducted the order of movements. Creating different moods snares and the marching majors from the early first Music Entertainment Poll. The vote was and using expressive dynamics, the Cavaliers 1970s. based exclusively on the criteria of how fans combined many emotions throughout their The drum corps ballad would rate the entertainment value of each program. Visually, the 1995 corps was Webster’s New World Dictionary of Music corps’ musical selections. rejuvenated, bringing back impressions of past defines a ballad as follows: “1) Originally a song The result was a first-place tie between the ideas and meshing them with exciting new drill intended for dance accompaniment; hence the Madison Scouts and the Phantom Regiment. progressions, which were performed well. air of such a song; 2) In modern usage, a simple This suggests that fans were equally entertained The DNA helix drill was tight and narrative poem, often sentimental or dramatic, by two different musical styles -- Madison’s impressive and the rotating planet at the end of generally meant to be sung. The ballad has Latin/jazz and Phantom’s more serious classical the show with the longitude lines was beautiful been an especially fruitful genre in English- style. Fans expressed that they like music that and innovative. speaking countries, acquiring Romantic is easy to follow melodically and rhythmically, Performing another revolutionary show, “An connotations in the choice of mysterious even if it’s not necessarily familiar. American Quintet,” the patriotic Cadets of legends or horror stories as subject matter; 3) Spectators were still expressing their Bergen County paid tribute to the end of World Originally short simple vocal melody set to one feelings about lack of entertainment in the War II, playing music of John Williams, which or more symmetrical stanzas, with a light drum corps activity. included: Prologue, The Reivers, Born on the instrumental accompaniment; the term now “There is an increasing public discontent at Fourth of July, Blowing Off Steam and Land includes instrumental melodies of a similar the inability of corps to bring a crowd to its Race from “Far and Away,” Swing, Swing, character; 4) Composition for single feet. There is pressure of corps to produce one- Swing (the highlight of the show) and Epilogue. instruments or orchestra, embodying the idea theme shows, resulting in large chunks of Blazing speed, dizzying drill and the of a narrative; 5) In the U.S., any folk song, fillers in the show as the arrangers try to fill up non-stop guard production of Swing, Swing, regardless of content.” weak themes in 10-minute productions. Well- Swing, dancing to the “Pokey Stomp,” multiple In general, the ballad has been used as a known music has been rejected by program trap sets and multiple props from Main Street, song which tells a story, often about love or a designers who seem to think that drum corps is USA, added up to an exciting and emotional broken heart. Drum corps has adapted the the skill of producing a tasteful dramatic and performance of a story-telling production, term ballad to describe their slow, emotional creative adaptation of any kind of music.” which earned the Cadets the first Spirit of selection which, in earlier days was the exit or “Corps should be able to put on a show Disney $4,000 cash award for creativity and farewell number, and later has become the which will hold the attention of everyone from entertainment. central musical selection that provides contrast, the most casual music listener through to The Blue Devils entered a world a bit on the usually features the guard, and most often is drum corps nuts and on to students and dark side with “Carpe Noctem” in 1995 and presented by the horn line without percussion. academics. “Club Blue” in 1996. The corps created a During the summer of 2001 a poll was taken “Through the years, some great shows have frightening atmosphere with “Carpe Noctem,” on the Sound Machine Discussion Group asking achieved this. To take two at random -- Santa which conveyed the tragic love story of James contributors to name their favorite drum corps Clara Vanguard 1987 and Madison Scouts 1985 Sochinski’s “Legend of Alcobasa” through ballads. Although many different ones were -- seem to be good examples of mind-blowing Wayne Downey’s musical interpretation and the named, the results of this poll showed the entertainment coupled with music of substance. guard’s use of skulls, face paint and tortured Phantom Regiment’s 1993 Fire of Eternal Glory And in both cases, although quite different movements, which were shocking to some in as the favorite, with their 1994 Claire de Lune a shows, the formula was the same -- wonderful the audience. close second. tunes, vibrant rhythms, basically tonal music, a Many fans have cited the 1995 Madison Others receiving a number of votes were: very musical visual show -- all put together presentation as the most intense show ever. Santa Clara’s Send in the Clowns, Cadets’ with variation and a fine balance of climax and The Spanish jazz program, “A Drum Corps 1991 Letter from Home, Blue Devils’ Tess’ release.” Fan’s Dream,” imagined a day in the life of a Theme, Phantom’s Amazing Grace, Santa 1995 bull-fighter (it opened with the “Call of the Clara’s Adagio for Strings and Nessum Dorma Winning musical program played by the Bulls”) and consisted of Scott Boerma’s El Toro (1991) and Boston’s Time to Say Goodbye Cavaliers: “The Planets” -- Mars, Venus, Caliente (with screaming sopranos), Joaquin (2000). Mercury, Jupiter. Rodrigo’s Concerto de Aranjuez, an original This preference for ballads of the 1990s Most played selection: Battle Hymn. La Danza Pasillo by staff members Taras obviously reflects a number of young voters, as The 50th anniversary of World War II was Nahirniak and Jeff Moore and Bill Holman’s there are many ballads from earlier years that celebrated in the programs of the Cadets and Malaga, all performed by a bombastic horn line, undoubtedly would have earned a significant Bluecoats. combined the best of old and new drum corps, number of votes from drum corps fans of The Cavaliers had set the stage for this for what may have been their most earlier eras. second championship 10 years earlier with their powerful and exciting corps since 1988. 168

jersey surf, Berlin, NJ (2001). joliet kingsmen, Joliet, IL (2001). allegiance elite, Calgary, ALB (2001). Photo by Harry Heidelmark from the collection of Drum Corps World. Photo by Dan Scafidi from the collection of Drum Corps World. Photo by Ron Walloch from the collection of Drum Corps World. It was a high-energy, presentation, played highest finish to date. This year they presented 1985 and revised in 1989. with dynamic contrasts and passion, and which a musical program of familiar classical/religious Having tied with the Phantom Regiment in took higher, faster and louder to a new tunes: Bach’s Jesu, Joy of Man’s Desiring, the 1994 inaugural music poll, the Madison dimension. The revolving company front, a Joyful, Joyful, We Adore Thee (Henry Van Scouts captured this year’s honors for 180-degree turn of two triangular blocks (also Dyke’s and Don Hart’s arrangement of themselves and the Cavaliers made great strides used in 1988) and the sometimes frenetic guard Beethoven’s Ode to Joy) and Bach’s A Mighty from fifteenth to third place. work are just a few of the visual offerings of the Fortress. Spirit of Disney Awards were presented to show. After two years of finishing twelfth, the the Cadets of Bergen County in open class, Anticipating the pinwheel closer, the Colts also claimed their highest finish by Pioneer in Division II and Mandarins in audience was on their feet as the wheel slowly placing ninth. This year’s Stephen Sondheim Division III. The awards brought attention to grew, quietly rotated and they hit a company program, “Sunday in the Park With George,” the corps for their “ability to translate front, waved on by a matador, and the horns was a departure from previous offerings, with a imagination into an educational and fun forum blasted toward the front sidelines. more sophisticated look and sound for the for their participants, to utilize new ideas and Phantom Regiment’s “Adventures Under a corps. Selections included: Sunday Fanfare techniques and to provide a great Darkened Sky” introduced new black uniforms (Chuck Naffier), Sunday in the Park with entertainment value for the audience.” (with silver trim) to complement the dark George, Children and Art, Color and Light and 1996 music of Russian composer, Sergei Sunday. Winning musical programs played by Blue Rachmaninoff: “Symphonic Dances,” “Rhapsody The Crossmen performed music somewhat Devils and Phantom Regiment: Blue Devils -- on a Theme of Paganini,” and Capriccio uncharacteristic of recent Crossmen corps and, “Club Blue: A Gangster Chronicle,” Children’s Bohemian. as a result, their performance of some dark Hour of Dream (Charles Mingus), Desi (Michael During the “Rhapsody,” the corps staged symphonic music -- Alfred Reed’s “Symphony Daugherty), Tess’ Theme from “Dick Tracy” themselves as if they were about to take a corps for Brass and Percussion” and Samuel Barber’s (Danny Elfman), original Wayne Downey music photo, behind silver picture frames, now known “School for Scandal” -- lacked the rip-roaring based on Pat Williams’ Threshold and Trouble as the “Paganini Frames.” While the black excitement of past shows. from Mission Impossible (Elfman); Phantom uniforms were questioned early in the season, Throughout the season, the corps Regiment -- “The Defiant Heart” (music of they were stunning under the lights of Rich experimented with several interesting voicings, Dimitri Shostakovich), Introduction to the Stadium in Buffalo. The guard was a classy including 19 mellophones and 12 sopranos at “Fourth Ballet Suite,” “Symphony #1” (2nd asset, complete with graceful dance and superb one point in the show. This, along with the use movement), “Symphony #5” (finale). equipment work. of a 16-person cymbal line for their ballad Most played selection: “The Lion King.” Santa Clara Vanguard’s non-traditional “Not (second movement of the Reed symphony) From a musical perspective, 1996 looked the Nutcracker,” “a post-modern demonstrated a willingness to try new things. like another step in the direction of greater non-traditional” adaptation of the musical For their first year in finals, Carolina Crown audience appeal. The activity no longer needed themes and modes contained in Tchaikovsky’s took DCI by storm, coming out of nowhere and to rely on the top six corps for outstanding original “Nutcracker Suite,” lacked placing eleventh with one of the year’s best entertainment, as there were a lot of other easily-grasped melodies, but had enough show concepts, “Stormworks” -- music and corps doing innovative and interesting things. traditional drum corps elements to keep the effects based on the subject of storms, such as Dark shows continued, some drum lines audience entertained, including an exposed the staging of the battery during the drum reflected influence of the percussion group screaming soprano. The marching program feature and the lightning bolts. Stomp, corps experimented with visual density was vintage Myron Rosander, with strong use of The brass section delivered an exciting and and this was a year of musical codas -- long and blocks, pass-throughs and curvilinear driven performance of storm-related musical expanded endings to programs. And the Cadets variations. selections: Stormworks, a symphonic band of Bergen County performed a skit to Semper Also celebrating the 50th anniversary of the work by Stephan Melillo, Watermark (Enya), Fidelis and Stars and Stripes at the closing end of World War II with their “Homefront, The Storm (music inspired by Chance, Williams ceremony of the Summer Olympics. Both the 1945” production, the Bluecoats presented an and Silvestri) and Finale from “The Abyss” Cavaliers and Cadets played music of Aaron emotionally moving vignette featuring a (Alan Silverstri). Copland. touching presentation of an American flag to a Magic of Orlando bumped the Blue Knights This was the first year there was a tie for the distraught wife of a GI killed in combat. for the first time since 1990, by providing an DCI Championship, but once again it was a tie Music included: Come Rain or Come Shine, original and intriguing show, “Danse Animale” between corps with two of the most opposite Shippin’ Out (Bruce McConnell), I’ll Be Seeing (“Sea, Land and Sky”). styles in the activity, the jazzy Blue Devils and You, News from the Front (McConnell) and This creative show was full of color, the classical Phantom Regiment. Phantom Sing, Sing, Sing (Benny Goodman). innovative movement and interesting horn took high brass and high general effect, while An improvement in show concept (over last charts. The “Land” selection was reminiscent the Blue Devils won high visual and high season’s “Moody Blues” program) helped the of another Robert Smith original, Midnight in percussion, with the Cadets being awarded best Glassmen to move up to eighth place -- their Miami, made famous by Suncoast Sound in color guard. 169

marion glory cadets, Marion, OH (2001). lehigh valley knights, Allentown, PA (2001). kiwanis kavaliers, Kitchener, ONT (2001). Photo by Dan Scafidi from the collection of Drum Corps World. Photo by Harry Heidelmark from the collection of Drum Corps World. Photo by Moe Knox from the collection of Drum Corps World. It was the eighth championship for the Blue Cadets of Bergen County presented “The the smooth, flowing music was characterized by Devils and perhaps the most defined storyline American West!” a show rich in musical and its overall aural effect, rather than by its the corps had yet attempted. “Club Blue: A visual imagery, designed to capture the spirit of melodic content. It included the first and third Gangster Chronicle” was an intense show from the wide open spaces and westward expansion movements of Claude Debussy’s “La Mer” (“The the loud opening to the equally loud ending, as through Aaron Copland’s The Promise of Living Sea”), Goff Richards’ Oceans and Tempest they portrayed the gangster life, complete with from “The Tender land,” “Tulsa -- A Portrait in Rising from the “Waterworld “film by James jailbirds, sirens and period costumes for the Oil” by Don Gillis, Hoedown and Gunfight from Newton Howard. guard. Jazzy dance moves and a style of jazz Copland’s “Billy the Kid,” a Jay Bocook original; Smooth and flowing music and drill that only the Devils can perfect created a dark and Morning and Happy Ending from Copland’s characterized several sections of the show, yet vibrant picture of the criminal element. “Red Pony.” which included a gorgeous baritone solo. The Phantom Regiment’s “The Defiant Heart” The large props on wheels (which took two two themes seemed to merge to form the explored the anguish and glory of the music of hours to set up) provided background scenery, a closing with high mark-time and a triumphant Russian composer Dimitri Shostakovich. Much stage area and a method to vary the density of finale reminiscent of the old Vanguard. of his music is dark and warlike, reflecting the the performers on the field. The Madison Scouts’ 1996 shows was part oppressive conditions in the former Soviet From a design perspective, the Cadets’ two of a “Drum Corps Fan’s Dream.” Once Union. show incorporated all the elements of a modern again, this Spanish-style show was pure Introduction to the “Fourth Ballet Suite” drum corps show -- rich and varied music, excitement and energy from the opening A Mis was an outstanding and very effective musical highly exposed parts for all elements of the Abuelos by Arturo Sandoval (with screaming arrangement. corps, a mixture of chaotic and frenzied drill sopranos), through Jean Camilo’s En Fuego (On The closer, the fourth movement of with mass block formations, character portrayal Fire), through the popular finale, Malagueña “Symphony No. 5,” resolved the struggle in by all members of the corps and a mixture of (Lecuona-Bill Holman). triumphant fashion and their musical ensemble sophisticated yet entertaining musical The only break in the faster and louder of 70 horns unlocked the full range of emotions movements. The color guard was fully theme occurred in the abbreviated section of embedded in Shostakovich’s music with highly integrated into the show, both physically in the Ravel’s Bolero, which was emotional and exposed brass passages and a sweeping drill and thematically. memorable with the repetitious music ensemble sound. The defending champion Cavaliers accompanied by the equally repetitious This was one of the best horn lines ever presented “Undiscovered Aaron Copland,” movement of the maroon flags. Bolero had assembled with a very clean soprano line and primarily his Latin works and the works of his been used for a warm-up in the very dark sounding baritones, euphoniums and student, Julian Orbon, and of Argentinean successful 1995 program, so it was put into contras, described by a fan as: “Evil and composer, Alberto Ginastera. the show in 1996. intense; in 1996 the heavens opened and rained They included “Symphony #3” and Mexican This show is said to have one of the highest down oppression and strife through the Landscape from “Latin American Sketches” by soprano books ever written and featured some darkness of the horn line.” Copland; Pavana and Xylophone from “Tres brilliant visual moves that included a favorite They didn’t even use their percussion Versiones Sinfonica” by Orbon; and the fourth move at the end of the show where a triangular battery until two to three minutes into the movement of “Piano Concerto #1” by Ginastera. block zooms front and center, the corps 180s show, when the line mysteriously moved from Although the show was heavily influenced out of it, then two counts later 180s back in. the left front of the field toward the center; by tribal sounds of Latin and South American The Bluecoats’ patriotic big-band show, random chaos turned into a form as the drum origin, it was often described as intellectual or “American Celebrations,” was constructed from line pounded away. esoteric and somewhat slow moving. The music associated with six American holidays: Visually the show used a minimalist color much-discussed latticework panels served as an Valentine’s Day (My Funny Valentine), scheme, emphasizing contrast, with the brass extension of the body and were used to provide Memorial Day, Independence Day, Bruce and percussion in nearly all-black uniforms and a different texture and change the visual McConnell’s original Big Day in Bristol, Labor the color guard in all-red baby doll dresses, density on the field by allowing the corps to Day (with industrial sounding music and which accentuated both the dark and the fiery hide behind them. images of striking workers) and Christmas (We themes of the show. A memorable visual was In a totally different type of musical Wish You a Merry Christmas) and New Years the color guard twirling silver poles in presentation than is usually presented by Santa Day (Auld Lang Syne). sequence across the field as the sopranos played Clara, and different from what is seen and After several years of exploration of varying a highly exposed run. heard in drum corps in general, the Vanguard styles of music, the Crossmen returned to their It was an unusual but entertaining show placed fifth with their sophisticated, jazz roots with “Voices in Jazz,” in which they that connected with the crowd. Once again, impressionist production of “La Mer,” a highlighted music from two vocal jazz the Phantom Regiment demonstrated that musical portrayal of the serenity, violence and ensembles, New York Voices and Manhattan subtle and sophisticated music could be beauty of the ocean, enhanced by contrasting Transfer. The upbeat tone of the show performed on a level that can make drum corps shades of blue. encouraged humming and toe-tapping with The audiences react. As is true of impressionistic art or music, Sultan Fainted, followed by the beautiful 170

pacific crest, Diamond Bar, CA (2001). blue stars, LaCrosse, WI (2001). mandarins, Sacramento, CA (2001). Photo by Rocky Lewis from the collection of Drum Corps World. Photo by Ron Walloch from the collection of Drum Corps World. Photo by Richard Wersinger from the collection of Drum Corps World. ballad A Nightingale Sang on Berkeley Square place. Musically, Sonoran Holiday was similar Madison Scouts in division I, to Nite Express in and closing with a non-standard arrangement to another of Nelson’s works, Aspen Jubilee division II and to the Golden Lancers in of the jazz classic Birdland. The color guard (performed by the Blue Knights in 1991). division III. did a frolicking, hip interpretation of the music. The program was visually highlighted with a The Madison Scouts also won the top Magic of Orlando continued their trend of free-flowing drill similar to that of the Cadets entertainment poll again for the third producing all-original shows and achieved an and appropriate blue hues to match the Eastern consecutive year. In second place was the eighth-place tie with the Crossmen. The music seacoast and earth-tones of the Southwestern Phantom Regiment and in third was the Cadets of their “Twelve Seconds to the Moon” show desert. of Bergen County. Even though the Blue Devils was composed by their program director, Dr. The Glassmen dropped out of the top 12 this tied for the DCI Championship, they came in Robert Smith, for concert band and then year, performing “An (Other) American ninth in the entertainment poll. adapted to drum corps. Revolution,” playing familiar tunes of Sousa, Scott Boerma, music arranger and brass The musical composition paid homage to Ives and Gershwin. caption head for the Scouts, was quoted in DCI those involved in flight, from the Wright The Kiwanis Kavaliers presented a popular Today as saying, “Music selection has always Brothers to the Apollo lunar landing with visual show using the Buddy Rich/Stan Kenton book been the first consideration in designing images of flight. The visual show was built of “West Side Story.” Madison’s show. We believe that the music around the musical presentation and featured In their final year, the Velvet Knights placed should be able to stand alone, even when being an outstanding cymbal line and baritone sixteenth with their fourth “Magical Mystery interpreted by the visual production. soloist. Tour (in Space),” which included two selections “Every corps is limited, to a certain extent, Carolina Crown earned a tenth-place from Bhatia’s “Interstellar Suite” (played in by the style of music for which they’re known. ranking with an innovative concept show titled 1989 by Spirit of Atlanta). Our musical presentations have been mainly “Chess . . . and the Art of Strategy,” featuring Under the direction of percussion genius jazz-influenced over the years. However, our the music of British composers Sir William Dennis DeLucia, Boston undertook a five-year only real requirement is that it is music that Walton (Presto from “Symphony #1”) and Sir tour through American music, Spirit of Atlanta will excite and captivate the audience.” Edward Elgar (Variations #9 and #15 from returned to their 1986 Rhapsody in Blue (with 1997 “Enigma Variations”) and a short closing a new Robert Smith arrangement), the Winning musical program played by the passage from Crown Imperial. Troopers presented music from Jerry Blue Devils: “As Time Goes By,” Overture from The strategy and tactics of a medieval battle Goldsmith’s movie score of “The Wind and the “Casablanca” and Bangkok from “Chess,” A were depicted musically and visually with short Lion” and Pioneer continued to grow in size Night in Tunisia (Gillespie), “Harp Concerto, bursts of sound and the performers darted from and ability with their standard Irish programs, Op. 25” (Ginastera), As Time Goes By chess piece to chess piece as the battlefield this year taken from the album “Celtic (Hupfield). evolved. As with the Cadets’ and Cavaliers’ Twilight.” Most played musical selection: Caravan. shows, the props provided yet another The Mandarins presented one of the most In 1997, people once again began to talk technique to change the visual density on the interesting programs of the year. Much of the about the success of the music of this year. The field. musical and visual concept of their “To the 25th Anniversary year of DCI was said to have Increasing in musical and visual Edge” production revolved around the mystique the finest group of top-12 finalists ever sophistication each year, the Colts placed and power of the Japanese taiko drum. The assembled and the scores proved it. Blue eleventh with their “Magnificat” presentation, corps’ nine taiko drums propagated a Devils, Cadets and Santa Clara Vanguard were one of the many religiously-inspired works of thunderous boom unlike any other heard all good -- three of the finest corps ever. English composer John Rutter, whose music before in drum corps. One fan noted that more curves and fewer had not been performed by a finalist corps More comments from the fans: “We have all geometric shapes graced the field in 1997 and since the Cavaliers’ presentation of his heard the cries for more audience-oriented the musical repertoires became less melodic. “Gloria” in 1989 and individual selections in music. Many show designers and arrangers Color guards seemed to develop a design path 1990 and 1991. have heeded the call over the past two seasons of their own. Brass fanfares and solemn passages reflected by returning to more traditional styles and Russian music in drum corps the praise and reverence of believers in composers while maintaining their creative and Please note that the following section is just Magnificat anima mea, A Lovely Rose, Fecit competitive edge.” a sampling of Russian music that has been potentiam, Esurientes and Gloria Patri. As was “Drum corps fans come for sensational played in drum corps. It does not include every true of many shows this year, the Colts sights and sounds. The most vital element in piece of Russian music ever played, nor does it presentation centered on the music. drum corps is the sound. Of course, the visual list every corps that played some of the pieces The Blue Knights returned to a finalist spot program is essential to a great show (great drill that are named. after narrowly missing last year. “The Music of maneuvers and huge rifle tosses are exciting Russian music has long been a source of Ron Nelson” featured two of his works -- Rocky enough alone), but without music, emotion music for drum corps programs, due to its Point Holiday and Sonoran Desert Holiday -- cannot be sustained.” power, intensity and driving rhythm. Mikhail lyrical music designed to create a sense of The $4000 Spirit of Disney Award went to Glinka’s “Russlan und Ludmilla” was played by 171

raiders, Lodi, NJ (2001). northwind, Oshawa, ONT (2001). troopers, Casper, WY (2001). Photo by Harry Heidelmark from the collection of Drum Corps World. Photo by Dan Scafidi from the collection of Drum Corps World. Photo by Harry Heidelmark from the collection of Drum Corps World. both the Knights of Geneseo in 1983 and the complete Rachmaninoff show in 1995. old-timers knew that the Vanguard was not a Crossmen in 1983 and 1984 and by Academie One of the most beautiful pieces ever played stranger to Bernstein and had repertoire that Musicale in 1992. by the Phantom Regiment and in drum corps in was reminiscent of a mid-1980s show. Reinhold Gliere’s ballet, “The Red Poppy,” general was Shostakovich’s Fire of Eternal Their “Fog City Sketches” contained was performed by Santa Clara in 1994, Glory (1993). And, of course, Tchaikovsky has Bernstein’s “On the Town,” “On the Waterfront” including the Russian Sailor’s Dance, which provided numerous repertoires for corps, in and “The Age of Anxiety.” The Vanguard has been performed by at least 19 corps since particular the Phantom Regiment. created one brilliant image after another and 1963, most often by the Boston Crusaders and Boston Crusaders embarked on a three year their percussion was one of the strongest on the Reading Buccaneers. series of Russian music -- 1992: Modeste the field. Igor Stravinsky’s “Rite of Spring” was played Mussorgsky’s “Pictures at an Exhibition;” 1993: The Phantom Regiment (and their arranger, by the Garfield Cadets during the 1977 season “1888, a Great Year for Music -- Compositions Jim Wren) managed to condense 17 hours and was featured prominently in the 1991 by Nikolai Rimsky Korsakoff”: Russian Easter worth of music into an 11-minute program, for Ventures show. The Cavaliers performed Overture and the Prince and the Princess and one of the most complex and difficult musical another of his ballet suites, the “Firebird,” in Festival in Baghdad from “Scheherezade”; and shows. It was the first time they had presented 1988 and again in 1997, while his third major 1994: “Russian Cameos”: Russian Easter music of Richard Wagner since 1979’s Elsa’s ballet, “Petrouchka,” was presented by Spirit of Overture, Sergei Prokofiev’s Troika and Procession. However, they chose some rather Atlanta in 1988. Romance and Gliere’s Russian Sailor’s Dance. non-melodious music from one of Wagner’s In 1978, the Phantom Regiment had played In 1997, the Blue Devils won an darker and heavier works, his opera “The Ring.” selections from all three of the Stravinsky unprecedented ninth DCI Championship. The One Phantom member said, “It was some of ballets. show was inspired by the movie “Casablanca.” the most incredible, intense music I have ever Nicolai Rimsky Korsakov’s “Scheherezade” However, although there was a musical theme had the pleasure to play. Nearly every note was used by the Spartans for their 1990 of As Time Goes By, the majority of the music played and every step taken in the show had production; his Russian Easter Overture was a was not from “Casablanca,” as it was not some meaning in the opera. You could hear popular number in the 1975 show of the Avant considered “hep” enough for the Devils’ style. some of the subtleties such as the Valkerie Garde, the 1978 Cadets of Greece, the 1980 A big part of their visual package was the motif in Gotterdamerung, Siegfried’s Funeral Phantom Regiment and the 1993-1994 Boston execution of block formations in their drill. March and the Magic Fire Music.” Crusaders, as well as the 1991 Reading The opening box rotation, expansion and Only one flag was used during the entire Buccaneers; and his Flight of the Bumblebee contraction performed at high speed was program and the lack of color on the field was used in the 1977 production of the extremely clean and one of the finest visual matched the dark program. There was a Owego, NY, Mello-Dears and was also a moves ever seen in drum corps. significant amount of body work and the horns popular drum solo for the Phantom Regiment In “A Celebration of Movement and Music,” made a backfield entrance in a block formation. in 1977 and 1978. the Cadets of Bergen County introduced British The Madison Scouts won the Spirit of Aram Khachaturian’s “Spartacus” was band composer Phillip Sparke to drum corps Disney award again this year in an unusual performed by the Phantom Regiment during with two of his compositions -- The Year of the story-telling venture for them (in recent years). the 1982 and 1983 seasons and by the Blue Dragon and Celebration. This show was said to Reminiscent of a Gilbert and Sullivan operetta, Stars in 1998. Modeste Mussorgsky has been be much like the Cadets of the early 1980s the Scouts presented “The Pirates of Lake extremely popular with his “Pictures At An when they first started to win, without the Mendota.” The original music by Scott Boerma Exhibition,” used by the Ventures in 1976, by theme and theatrics of recent years, but rather, and Taras Nahirniak was both melodic and the Boston Crusaders in 1993 and the Great with all the exciting trademarks of the Cadets. humorous and modeled after works of some sea Gate of Kiev in the Russian productions of the The tight follow-the-leader drill was done at songs by Goff Richards and Dave Roylance and Santa Clara Vanguard in 1986 and 1987. high velocity and the corps continued to write a Robert Galvin. His Night on Bald Mountain was in the textbook on coordination during a drum Visually, the Scouts entertained with a repertoires for the 1974 Phantom Regiment and feature. The guard’s interpretation of a British traditional company front entrance, a superb 1975 Troopers. Dimitri Kabalevsky’s Colas brass band was superb; their bodies became the brass collapse to a parallelogram, followed by a Breugnon was the opener for the 1983 program instruments while the bright blue shakos perfectly-staged rifle feature, a pirate fight, a of the Madison Scouts. became the focus of the theme and there was a series of kaleidoscopic drill moves, a rotating Dimitri Shostakovich’s “Fifth Symphony” silent rifle toss/catch. percussion accessory stand with a “park-n-bark” was played in 1988 by the Cavaliers, his Festive The conclusion was classic Cadets, with a surprise extended power chord. Overture served as opener for the Santa Clara huge company front push to visual collapse, to Crossmen was the “Cinderella” corps this Vanguard in 1984 and a closer for the Phantom the Z-pull, to the 100-yard spread. year, making it into the elite top six with a Regiment in 2001 and an entire program of While it might appear to newer drum corps standing ovation for their accessible, Shostakovich music catapulted the Phantom fans that the Santa Clara Vanguard did a mainstream jazz program titled “The Colors of Regiment to their first-place championship tie repertoire “switcheroo” this year by picking up Jazz,” once again using arrangements of with the Blue Devils in 1996, after playing a some music previously played by the Cadets, Manhattan Transfer and Singers Unlimited. 172

spirit, Jacksonville, AL (2001). americanos, Appleton, WI (2001). santa clara vanguard, Santa Clara, CA (2001). Photo by Ron Walloch from the collection of Drum Corps World. Photo by Dan Scafidi from collection of Drum Corps World. Photo by Richard Wersinger from the collection of Drum Corps World. This audience-accessible jazz program began The Bluecoats’ theme, “Midnight Blue -- such matters as how to save the activity due to with the popular Birdland (which had closed Jazz After Dark,” was highlighted by the use of smaller, less-interested audiences, poor their 1996 program). The color guard’s two large stages and contained Earle Hagan’s recruiting practices and harder-to-recruit ensemble banner work accompanied the great Harlem Nocturne, Moon from “Wolf” and You marching members, use of electronics, band brass and solid percussion to new levels of and the Night and the Music. instruments and any-key-instrumentation. excitement. You Are My Sunshine was given a Carolina Crown’s “Postcards from Britain” And the discussion continued on the status gospel treatment with the help of the red-robed opened with Crown Imperial. During Bob and definition of drum corps: “Drum corps is preacher and impeccable staging and Niner-Two Margolis’ Terpsichore, multiple British brass drum corps, not opera, Broadway or dance.” had the strongest and longest final chord of the bands presented colorful images of 18th And there was talk about the loss of evening. Century Britain. The haunting Nimrod from individual corps identity -- “Today there is a The Cavaliers brought Stravinsky’s Elgar’s “Enigma Variations,” had majestic blending of corps. Many shows look and sound “Firebird” back again from 1988. Their elegance and Gigue from Holst’s “St. Paul alike. Years ago, when you heard one ingenious opening utilized the full mass of Suite” provided an excellent showcase for their practicing, you knew who it was, but now so bodies without equipment to create imaginative great brass line. many corps sound the same. This is a result of forms and audio that seemed to signify the Falling out of finals with a dramatic change better musicianship. Corps’ horn lines are theme. But once again the Stravinsky melodies of style (a hybrid of their 1993-1994 rock and striving for a pure, musical sound. and dissonant power chords were difficult for roll attitude and their more professional 1995- “The ideal of what a quality sound is, it the audience to grasp. 1996 image), the Colts performed “Music of turns out, is rather agreed upon. No matter The Glassmen’s “The Age of Gold: The Music Blood, Sweat and Tears”: God Bless the Child, what the style of music a corps plays, one great of Georges Bizet,” presented a rock-solid Symphony for the Devil, the rock Lucretia horn line won’t sound all that tremendously program of the passionate and powerful music MacEvil, the gospel Hi-De-Ho and 40,000 different from another. They are all wonderful of that composer’s Mountain Pass and Headmen. and different in their own way. But if you hear Farandole, plus Schedrin’s ballet rendition of Kiwanis Kavaliers presented another them in warm-up (with your eyes closed), it Carmen. A creative visual flow was augmented musical, “Evita.” Boston continued their series might be difficult to tell them apart.” by solid guard support. “Portraits of Our Homeland Part 3: Conflicts 1998 Utilizing various size ladders, the guard and Resolution” with William Schumann’s Winning musical program played by the created a variety of visual poses on the field that Chester Overture, Copland’s A Lincoln Portrait, Cadets of Bergen County: “Stonehenge” by Jan gave strong support to the musical program. the Navy Hymn Eternal Father and “Victory at van der Roost for their seventh DCI There were some unusual props in the show Sea” (Richard Rodgers/Robert Russell Bennett), Championship. and some great brass licks led a solid final and Pioneer presented music from Most played musical selection: Danny Boy. impact. “Riverdance.” In 1998, a lot of old numbers were revived, In a change from their typically The fourth annual music entertainment along with a few new musical selections not contemporary taste, the Blue Knights presented poll, taken after this competitive season, once heard before in drum corps. A number of corps themes from Miklos Roszas’ movie “Ben Hur” again revealed the Madison Scouts to be the celebrated anniversaries -- Madison 60th, Cavies and music of Samuel Barber (Lithe Girl, Brown most entertaining, followed by Crossmen, Santa 50th, Blue Knights 40th, Colts 35th and to Girl from the “Lovers” and Father in Heaven Clara Vanguard and Blue Devils. It was a strong commemorate these celebrations, two of the from “Prayers of Kierkegaard”), setting a feeling that the overall entertainment value of corps (Madison and Cavaliers) brought back religious theme of biblical times, visualized by each show is determined when the music is some of their most famous traditions. stained glass and blue silk flags. The “Ben Hur” chosen. To win their seventh DCI title, the Cadets of reprise presented audio battle scenes. At the end of the 1997 season and into 1998, Bergen County once again presented an Magic of Orlando presented “Carnivale -- many fans were talking about “a reawakening” esoteric program that pushed the activity to the Celebration for Sinner and Saint.” A party in -- the greater entertainment value of most of max, with “Stonehenge,” a British band piece the streets of New Orleans opened with a jazz the shows. There was praise for the great written by 20th Century Netherlands composer, parade to Li’l Liza Jane and When the Saints music of the completed season -- “The tide has Jan van der Roost. Go Marching In, then they transported the turned back toward corps-style, quality sounds This show had awesome arrangements of audience to Mardi Gras. of drums and bugles, fabulous color guards and some great music, a gorgeous ballad, With Bourbon Street Crawl, they proved marching covering the field without Canterbury Chorale, a great horn line with they could also do straight drum corps. Robert maneuvering around props.” “Brought back the outstanding mellophones (rotating Smith’s original “Mass” brought in the real feeling of drum corps.” “Standing ovation mellophones in the middle of the ending drill) liturgical meaning of Mardi Gras and Mintzer’s for the Crossmen, well-deserved.” “Field shows and a great drum line with some good feature Voodoo Magic and Do Whatcha’ Wanna’ are much more difficult with drill patterns and work. (Rebirth Brass Band) returned to the fun of designs using the whole field. It challenges the The drill design, written by Jeff Sacktig, was Shrove Tuesday. Voodoo Magic was highlighted performers more.” exciting throughout the entire show and by a solid percussion feature and mass of color. Still, other observers engaged in debates on featured their now-famous “toilet bowl” in the 173

racine scouts, Racine, WI (2001). cadets of new york city, New York City, NY (2001). patriots, Rochester, NY (2001). Photo by Ron Walloch from the collection of Drum Corps World. Photo Harry Heidelmark from the collection of Drum Corps World. Photo by Harry Heidelmark from the collection of Drum Corps World. opener (described as a follow-the-leader move effects the corps brought back from the last 20 seen on early video tapes. Brian Hartmann that wraps itself into a box, like a tape measure years -- symmetrical forms, kaleidoscope recalled: “The opener had 12 snares (eight winding itself up, creating the effect of the moves, flag work on the 50, head choppers, the snares plus four tenor players on snare). The water in a toilet bowl circling around while it’s dragon and DNA strand forms, the diamond second tune had five full sets of tenors and four being flushed) and a big exciting finish utilizing cutter and the guard walk-over by the brass sets of “1,2 gawk drum” tenors that fit in the “meat grinder” drill as the final move line, which earned a standing ovation. between the full sets for the nine-person line in There was outstanding guard work from the The “Cinderella” story of 1998 found the the second half of the tune. beginning -- with the guard in terra cotta using Glassmen in fifth place and in the top six for “The remaining three snares joined for the silks of muted tones to the middle section with the first time, with an exquisitely designed last minute of the tune. Basses remained a full the cascading rainbow flags along the back classical program, “Dreams of Gold: The Music six (which had been a standard for Madison). sideline. The guard brought and emotional of Alexander Borodin,” playing a horn book of The closer had their normal setup of 8, 4, 6.” journey to life, not by complimenting the majestic power which combined an Arabian The works of Pat Metheny, one of the music, but by performing the music. The corps theme with musical compositions of the greatest contemporary jazz guitarists, has been made many changes at the last hour and hit a Russian composer, Borodin -- Asia Fantasia, In popular with the Blue Devils as well as the climax exactly at finals performance. the Steppes of Central Asia, Prince Igor, Crossmen. The Crossmen’s 1998 program, “A This year’s corps “switcheroo” found the Overture, “Polovetsian Dances,” “Symphony #2” Metheny Portrait,” contained First Circle, Third traditionally-classical Santa Clara Vanguard (4th Movement) and excerpts from “Kismet.” Wind and Letter from Home and featured two playing jazz and the jazz-oriented Blue Devils The guard was dress in Oriental-styled different tenor lines, producing timbale and playing classical. And the Cavies picked up costume with a gold through-line appearing on deeper pitched sounds, respectively. quickly on another composition of Phillip everything from uniforms to rifles and flags, In “Songs from the Eternal City: Rome,” the Sparke, the composer of the 1997 Cadets with sparkling silver trim. Phantom Regiment visited some pieces played program. The opener featured snares played with by the 1983 Cavaliers and 1991 Star of Indiana, The Santa Clara Vanguard presented some dynamics and dexterity, and a mix of fast and along with other Italian-based sections -- earlier and lesser-known compositions of slow tempos in the closer elicited standing Roman Carnival Overture (Berlioz), E Lucevan Copland in “Aaron Copland -- The Modernist,” ovation for the best of the Glassmen. Le Stelle from “Tosca” (Puccini), Pines of the -- Grohg, rocking jazz in Hear Ye! Hear Ye! Madison Scouts’ 60th anniversary “Power, Villa Borghese and Pines of the Appian Way Down a Country Lane, “Concerto for Piano and Pizzazz and All That Jazz” was divided into from “Pines of Rome” by Resphigi. Orchestra” and a light, intricate Dance Panels. three segments with three jazz pieces providing The program was quite symphonic in sound, Their show mixed complexity of drill, a retrospective interpretation of the corps’ three utilizing 14 contras, herald bugles (which were equipment work and a packed musical book decades of DCI participation. draped in black for finals) and closing with a augmented by a battery of visuals. They The opener, Pontyn (Japanese Cartoon huge Roman banner on which was written embraced both traditional and innovative facets Theme)/Eagle Soars by Louie Bellson, “Spiritus Concordia Unitas Semper” (Spirit, of drum corps with a virtually prop-free show, a represented the early days of drum corps with Harmony, Unity Forever). gymnastic guard with poles, and cymbals used the costuming and choreography representing In their 40th anniversary year, the Blue as yo-yos. the late 1960s and early 1970s -- very military Knights did not revive their history, but rather, Blue Devils presented the most intellectual and non-body-oriented marching and spinning, became “Masters of the Symphony,” as they version of “West Side Story” yet seen or heard with the color guard in the corps uniform of moved into a new all-classical direction, by in drum corps in “One Hand, One Heart,” a the time and tape on the rifles. playing Shostakovich’s “Symphony #10” (2nd merging of Dave Grusin’s version of Bernstein’s Then the show evolved costume-wise and Movement), Tchaikovsky’s “Symphony #6” “West Side Story” and Tchaikovsky’s “Romeo choreographically to the second number, Hugo (Movements 2 and 3) and Beethoven’s and Juliet,” with melodic lines matching from Montenegro’s jazz arrangement of Hall of the “Symphony #9” (4th Movement) for one of their the two works. Mountain King from Grieg’s “Peer Gynt Suite,” best seasons. Visuals included controlled ballet In their 50th anniversary year the Cavaliers which was presented in the very stylized moves, Brenda Vang flags and butterfly wings. won the coveted Spirit of Disney award with a manner of the late 1970s and early 1980s, when Each selection in the Bluecoat’s “Four show that combined their past with the present the color guard started to dance and use more Seasons of Jazz” took on the mood, costuming and the future in “Traditions for a New Era.” movement, which included a sort of bunny hop and stylization of the seasonal elements, from Playing The Path Between the Mountains (signature move of the Bridgeport, CT, Troopers the bright Spring Can Really Hang You Up the (original by Jay Kennedy), Molti Vivo and Lento senior corps). Most/It Might as Well be Spring to the sultry from “Dance Movements” by Phillip Sparke, and The closer, Remembrance by Paul Hart, Summertime and traditional Autumn Leaves, Machine, the fourth movement from evolved into the 1990s with futuristic-looking which reflected their popular versions of this “Symphony #5” by William Bolcom in which costumes and configurations and the ballad from 1987 and 1988. the entire guard played cymbals during the introduction of the sabre into the visual pallete. Carolina Crown presented “Heroes Now and company front at the end of the show. Visually there was double-time marching, Then: The Music of Alfred Reed.” The show Highlights of the show included some of the high mark time and exchange of drum parts as opened with the familiar Russian Christmas 174

seattle cascades, Seattle, WA (2001). pioneer,, Milwaukee, WI (2000). blue devils b, Concord, CA (2001). Photo by Ron Walloch from the collection of Drum Corps World. Photo by Dan Scafidi from the collection of Drum Corps World. Photo by Jeff Sallee from the collection of Drum Corps World. Music, with dual flag manipulation by the guard the top spot in both with 9.9s. However, the found the Madison Scouts on top for the sixth and a high leg-life by the corps, followed by the quality of the entire roster was high as eight top straight year (although they tied with the lively Armenian Dances and closed with Praise corps scored in the 90s. Phantom Regiment in the first year). This Jerusalem. Outstanding percussion and guard The major news of 1999 involved the year’s poll did not necessarily reflect placement, allowed them to jump in placement this year. approval of the use of standard brass as second place went to Spirit of Atlanta and The Colts’ 35th anniversary “An A Capella instruments. After years of discussion, the DCI third was a tie between Cavaliers and Magic of Celebration,” was the antithesis of their rock Board of Directors finally approved the use of Orlando. selections of 1997, instead featuring a religious “brass, bell-front, valve instruments in any key Some of the top-ranking corps slipped down theme, based on the contemporary sounds of with the exception of sousaphones and in the list -- Blue Devils eighth, Cadets of Christian music -- Crown Him with Many trombones,” by a widespread margin of 17-3. Bergen County fourteenth and Santa Clara Crowns by Glad, Silent Night by First Call, There were several reasons for proposal of Vanguard tying for sixteenth with the Blue Searching for You and Morning (both by Out this issue. One was the fact that there are only Knights. Again, this probably reflects the There). two bugle manufacturers -- DEG and Kanstul -- general audience appreciation for recognizable Finals ended with songs associated with and there was growing concern that, if either or music and dislike for esoteric programs. specific corps -- You’ll Never Walk Alone both manufacturers should decide to terminate The Blue Devils’ “Rhythms . . . at the Edge (Madison), Amazing Grace (Phantom), their bugle production, the activity would not of Time” was a production of contemporary Somewhere Over the Rainbow (Cavaliers) and have any suppliers of instruments. music based on dance rhythms. It was a Send in the Clowns (Santa Clara). Some felt there might be an opportunity to continuum of rhythmic expression beginning The 1998 season ended with more talk about play on instruments of superior quality to the with the foundations of tribal communication, the decline of the activity -- dwindling numbers bugles being used and possibly for a lower with a primitive Afrocuban beat, through of marching members, difficulty of recruiting price. It would provide a choice of instruments variations in malambo, rhumba, samba and good brass players, complaints that now drum from many manufacturers. tango, culminating in the jubilant swing of corps are trying to be marching bands and even Also, performers could play on the American jazz. encouragement for high schools to start their same-keyed instrument all year round, The Devils’ brass literally produced the own drum corps, along with the theoretically improving the educational value of biggest sound of the evening, the bass drums all-encompassing question about what had marching in drum corps; the familiarity of were playing “wicked” passages and visually happened to the pride of being unique. instrumentation would make joining a corps they featured flawless freezes at the end of the 1999 less of an obstacle for potential members and show with the drum break. Winning musical programs played by Blue with performers playing their own instruments, With their “Inventions for the New Devils and Santa Clara Vanguard: Blue Devils -- this would reduce the cost of operating/starting Millenium,” the Santa Clara Vanguard “Rhythms . . . at the Edge of Time”: a drum corps and possibly increase presented a solid show musically and visually, Afrocuban/Malambo (Alberto Ginastera), membership. which honored three 20th Century American Powerhouse, Rhumba for Orchestra (Graeme But, perhaps the major reason for the composers -- Philip Glass, Frank Ticheli and Koehne), Samba (Koehne), Adios Nomine proposal was to allow corps more freedom of Samuel Barber. Glass’s 1998 Canyon, (Astor Piazolla), Unchained Melody (Koehne) choice in what they play. There was much conceived as a symphonic portrait of nature, and American Swing (Brian Setzer); Santa debate about whether or not the instruments was about 14 minutes long in original form, but Clara Vanguard -- “Inventions for a New currently employed are really bugles at this was expertly condensed for this show without Millennium”: The Canyon (Philip Glass), point. Some have said that the moment a valve loss of musical identity. “Symphony #2” (Samuel Barber), “Symphony was added, the bugle was no longer a bugle. Barber’s symphonies were dramatic, #1” (Barber) and Blue Shades (Frank Ticheli). Other argued that it is the key of G that aggressive and interwoven and Ticheli’s newer Blue Shade was being played by both Santa made the bugle unique. The division II/III (1996) Blue Shades was a contemporary Clara and Crossmen. corps voted a two-year moratorium on the use combination of blues and jazz, which created a The last DCI Championship of the 20th of any-key instruments. This final step unique symphonic collage. Century took place in Madison, WI, where concluded the evolution from no-valve to This program also may have introduced the approximately 60 junior corps took part in valve-rotary to two valves, three valves and visual style for the new millennium, as viewers three divisions. Once again two corps were finally, to traditional brass instruments. witnessed a production so filled with body crowned champions -- the Blue Devils and the The other important topic of the year sculpting by the guard and brass that it took it Santa Clara Vanguard, tying with a score of concerned the ongoing debate about the use of to another dimension, as well as hypnotic 98.40. electronics. Narrowly defeated was a proposal marching, a driving drill and powerful block Santa Clara captured general effect with that would have allowed amplification (10-12), forms which folded into each other. exquisite show design, while the Blue Devils which effectively defeated a proposal to allow The larger, mature guard featured rifles, ruled in performance with superb execution. electronics, since amplification would be which had not always been a part of the Santa The corps was nearly perfect in both brass required to use electronics. Clara Vanguard’s equipment palette. performance and marching cleanliness, taking The 1999 fans’ entertainment poll again The Cavaliers again brought new music to 175

boston crusaders, Boston, MA (2001). lake erie regiment, Erie, PA (2001). cavaliers, Rosemont, IL (2001). Photo by Ron Walloch from the collection of Drum Corps World. Photo by Dan Scafidi from the collection of Drum Corps World. Photo by Moe Knox from the collection of Drum Corps World. the activity with their “Classical Innovations,” to showcase the Glassmen’s brass with Symphonies,” each of which deals in a different which included Fantasia in G by Timothy Mahr full-throated power and creative dynamics. The way with fate themes, each containing and “Fantasies on a Theme by Haydn” by percussion section picked up where they left off movements which are tragic in tone and each Norman Della Joio. in 1998, receiving high scores with a composed of some of the most colorful and These two contemporary wind compositions, well-written book and clean battery work and powerful music ever written, all presented in derived from melodies written by famous some of the drill formations morphed to the emotional and triumphant manner that classical era composers, offered an opportunity become negative images of themselves. only the Phantom Regiment could deliver. for the Cavaliers to explore numerous visual Mellophone players were running around the Special features of this show included their and musical colors and moods. The final drum major stand at the end. technically powerful soprano line, the segment of the show built to a majestic and The Madison Scouts won the Spirit of traditionally powerful low brass with 14 polyrhythmic conclusion. Disney award for the third time in four years contras, a flashy tenor line, the guard’s The Cavaliers were one of the surprise corps with their fan-friendly production of the sequential twirling of flags and sabres, the of DCI Finals week, making a major move past groundbreaking rock opera “Jesus Christ traditional crab-stepping and fast-moving the Cadets. Their horn book was exciting and Superstar” by Andrew Lloyd Webber. This show pass-throughs and a drill form that resembled aggressive. Their excellent drum line was was not as in-your-face as some of Madison’s the Soviet hammer and sickle. typical Cavaliers and the very best on finals past shows, but rather, it was an attempt to The “Pathetique” or “Sixth Symphony” night, scoring a 9.6. express the feelings evoked by the music, with a served as the vehicle for the corps’ signature Four concert bass drums and two large light, fanciful, non-literal touch. and its third movement, The Victory Parade, timbales in the pit sent pulsating vibrations Beginning with a warm-up of I Don’t Know provided a dramatic and triumphant conclusion through the program. How to Love Him and continuing with Heaven for the program. Their drill contained a ripple turn within a On Their Minds, Everything’s Alright, King Although Boston is one of the activity’s rotated box, a kaleidoscopic effect peeling off Herod’s Song, Trial Before Pilate, Crucifixion, oldest corps (founded in 1940), they had never the 50, an inner and outer circle drill and their John 19:41 and Superstar, this show presented made finals until 1999 when their show “A now-famous diamond cutter. the rich rhythms, harmonies and classic Collection of Symphonic Dances” earned them The Cadets brought to the drum corps field melodies with the traditional Madison big, a ninth-place finish. a concert band piece titled “The Big Apple” brassy sound, ear-splitting soloists, humorous This program of Alfred Reed’s Armenian (“Symphony #2”). Composed by Johan de Meij, drill parodies of old-fashioned maneuvers, Dances, Malcolm Arnold’s “English Dances” and a Dutch neighbor of Jan van der Roost which included a head chopper during King selections from his “Four Scottish Dances” and (composer of “Stonehenge,” the composition of Herod’s Song, an arm swing and a yogi turn at Clifton Williams’ Symphonic Dance #3 -- Fiesta their 1988 championship program) this the end of Everything’s All Right. blended Boston’s historical tradition, a newly 20-minute original production provided a wild There was also a jazzy Dixieland combo, refined and sophisticated brass sound and a interpretation of the world of New York City. numerous company fronts, some high Northeastern-style weapons line, with some Recalling a structure reminiscent of the mark-times, a towering rifle toss and a final refreshing and innovative portrayals of wind Cadets of the early 1990s, this work provided cross morphing into a star formation. and percussion literature. The audience will tremendous challenges in terms of speed, The Blue Knights’ program, “Suite for Brass not forget the sky-high final sabre toss executed sensitivity and timing. Again, they featured and Percussion,” featured the music of two flawlessly by a male guard member. their “toilet bowl” drill and a tarp-like painting European brass band composers, James Curnow In the year of their 25th anniversary, the on the field with unusual angles that was hard (a revised version of the Knights’ 1994 Crossmen celebrated with “Changing to figure out, partially because it wasn’t finished “Trittico”) and Edward Gregson (3rd Movement Perspectives: A Silver Celebration.” Their until finals week, but it is said to have of Partita). The powerful brass band sounds opener, Blue Shades written by Frank Ticheli in represented the New York skyline or the were combined with the power of Ralph 1997, was, at that time, one of the hottest riverfront docks. Hardimon’s percussion arrangements, the compositions in the world of wind ensembles -- The Glassmen brought the works of a visual designs of Rob Billings, body-sculpting of a fusion of orchestral structures with the drive Hungarian composer to the drum corps field the guard and the continuation of the Blue and energy of jazz. with their presentation of “Empire of Gold: The Knights’ trademark vibrant, hand-painted silks. Some fans preferred the Crossmen’s version Music of Zoltan Kodaly.” The exotic and After 30 years of “orchestrating” brilliant, of this piece over that of Santa Clara. Silver colorful works with a gypsy touch included authentic arrangements of classical music and flags and bugles glimmered against the corps’ Kodaly’s “First Symphony,” “Variations on a brass charts for the Phantom Regiment, this new black uniforms and the drum line carried Hungarian Folk Song” (“The Peacock”) and year Jim Wren concluded his tenure as arranger on a popular ”Bones” tradition. Entrance of the Emperor and His Court -- the in which he had marched during his youth for Carolina Crown brought to the field a 6th movement of the “Hary Janos Suite,” for the corps. unique interpretation of one of the current hits another “golden”program that earned the The Regiment’s 1999 “Tragedy and of Broadway, “Jeckyl and Hyde” and the music Glassmen fifth place for the second year. Triumph” was a presentation of excerpts from of Frank Wildhorn. While not literal in its The high-energy program provided elements Tchaikovsky’s “Fourth,” “Fifth” and “Sixth interpretation, Crown referred to the story by 176

esperanza, San Diego, CA (2001). blue devils b, Concord, CA (2001). southwind, Lexington, KY (2001). Photo by David Rice from the collection of Drum Corps World. Photo by Francesca Colombini from the collection of Drum Corps World. Photo by Alan Winslow from the collection of Drum Corps World. highlighting the conflict of good and evil and a quality as Garfield in 1984 or 1989 or Santa • Crossmen: Russian Christmas Music, programmatic approach that allowed for a study Clara in 1988 and 1989 or the Sky Ryders in Birdland. in contrasts or opposites, which was a credit to 1986, 1987 and 1988, this didn’t seem to • Dutch Boy: My Way. their design team. They also had an present a problem for division III or senior • Guardsmen: Rule Brittania/Waltzing Matilda, outstanding guard with solid ensemble work corps in 1999. Greensleeves. and beautiful silks. Division III finals saw all-new productions • Hawthorne Caballeros: “Rumps” (Espana The Colts continued their recent exploration of “West Side Story” and “Les Miserables.” The Cani). of vocal music with “Voices”: Dies Irae from senior Empire Statesmen went through four • Kilties: Auld Lang Syne. Verdi’s “Requiem,” selections from “Flamma years of Broadway shows, visiting “Miss • Madison Scouts: Finlandia, You’ll Never Walk Flamma,” the “Fire Requiem” by Nicholas Lens Saigon,” “West Side Story,” “Phantom of the Alone. and I Believe (from the Andrea Bocelli Opera” and “A Chorus Line,” proving that they • Spectacle City Mariners: Red Sails in the recording) by Eric Levi. The finale drill was are not afraid of such comparisons. Sunset. impressive. The 1999 version of East Coast Jazz had one • PAL Cadets: “Exodus.” The Bluecoats, who fell out of the top 12 of the best soprano soloists to appear in DCI, • Phantom Regiment: Phantom Regiment, this year, had chosen to play a “Chick Corea Adam Rappa. He also performed in 1997 and Amazing Grace, Elsa’s Procession to the Suite,” which included Armando’s Rhumba, 1998 and, after 1999, went on to perform with Cathedral. The Leprechaun’s Dream, Duende and the touring cast of “BLAST!,” playing great • Pioneer: Gary Owen March. “Celebration Suite.” solos in Malagueña. • Queensmen: Start of Something Big. In 1999, the senior Kilties returned with a Musical signatures • Reading Buccaneers: Theme from “Affair to new version of Auld Lang Syne to close their and/or exit numbers Remember.” field musical show. One of the strongest traditions that have • Royal Airs: Where Are You? Chicago, My Kind Truman Crawford retired from the USMC in identified corps over the years are their musical of Town. 1999 with the rank of Colonel. He had over 40 and visual signatures, which often go together. • Santa Clara Vanguard: Bridge Over Troubled years of military service; 10 years with the Here is a list of some of those that are most Waters, Procession of the Nobles, Send in the USAF Bolling Field drum corps in Washington, recognized: Clowns, Bottle Dance from “Fiddler on the D.C. and 33+ years with the U.S. Marine Drum • Anaheim Kingsmen: “Exodus.” Roof.” & Bugle Corps, also in Washington. • Argonne Rebels: Shenandoah, Stars and • Scout House: Waltzing Matilda, their He is now the musical director of the Stripes Forever. signature “bye-bye” wearing Aussie Hats and Baltimore Yankee Rebels Alumni Corps. He • Blessed Sacrament Golden Knights: In the shorts. became well known in drum corps for his horn Still of the Night, America the Beautiful, • Seattle Cascades: Imagine. arrangements and instruction with the Chicago National Emblem, Free Again. • New York Skyliners: New York, New York, Royal Airs in the mid-1960s. • Blue Devils: Chase the Clouds Away, Legend Give My Regards to Broadway. Musicals in drum corps of the One Eyed Sailor (1970s), warm-up • Spirit of Atlanta: Let It Be Me, Georgia on My Over the years, so many musicals have been chord progression. Mind (has been performed in some form every experienced -- “Les Miserables,” “A Chorus • Blue Knights: I Go On. year since 1979), We Are the Reason, Dixie. Line,” “Hair,” “West Side Story,” “Man of La • Blue Rock: Requiem for the Masses, Baby • Star of Indiana: When You Wish Upon a Star. Mancha,” “Jesus Christ Superstar,” “Evita,” Elephant Walk (with an elephant trunk • St. Catherine’s Queensmen: With a Smile and “City of Angels,” “Miss Saigon,” “Phantom of hanging from the bell of the contra). a Song, “Exodus.” the Opera,” “Starlight Express,” “Cats, “Sound • Blue Stars: First Federal March, selections • St. Kevin’s Emerald Knights: All the Things of Music,” “Brigadoon,” “Miss Saigon,” “Jeckyl from “Jewish Trilogy.” You Are, This Nearly Was Mine. and Hyde” and many more. In fact, it would be • Bridgeport Troopers senior corps: Bunny Hop • St. Lucy’s Cadets: I Remember You, El difficult to name musicals that haven’t found with visual “hops.” Conquistador. their way, at least in part, to the drum corps • Bridgemen: What We Did for Love. • St. Raphael’s Buccaneers: In the Shelter of field. • Boston Crusaders: California Dreamin’, Your Arms. There had been some discussion that the Conquest (and just the “shots” with the • St. Vincent’s Cadets: Shuffle Off to Buffalo. junior corps were shying away from doing “grunts” in between). • Tarheel Sun: Don’t Let the Sun Go Down on Broadway music for fear that fans and judges • Cadets of Bergen County: Maria, Holy Name Me. might compare the latest drum corps versions Will Always Be. • Toronto Optimists: The Party’s Over. of Broadway shows with the ones from the top • Carolina Crown: Carolina on My Mind. • Troopers: Battle Hymn of the Republic, When corps of the past. • Cavaliers: Softly as I Leave You, Somewhere Johnny Comes Marching Home, Ghost Although it takes a lot of nerve to revive one Over the Rainbow, Somewhere from “West Riders, “How the West Was Won,” complete of those and a lot of creativity to make it Side Story,” Tiger Rag and Bully (mid-1960s). with triple tonguing. different enough so that the crowd isn’t • CMCC Warriors: To Sir With Love. • 27th Lancers: The Impossible Dream, Danny expecting the same features or the same high • Connecticut Hurricanes: Magnificent Seven. Boy, Crown Imperial. 177

colt cadets, Dubuque, IA (2001). dutch boy, Kitchener, ONT (2001). phoenix, Brick, NJ (2001). Photo by Dan Scafidi from the collection of Drum Corps World. Photo by Ron Walloch from the collection of Drum Corps World. Photo by Dan Scafidi from the collection of Drum Corps World. • Yankee Rebels: Shenandoah. for a baton. Two major trends in the visual area were a Visual signatures/logos • Phantom Regiment and Guardsmen: Dave St. return to equipment work by the color guard Throughout the years, corps have had visual Angels’ horn flip after the on-field warm-up and the visual aspects of program design signatures or logos, which defined them just as (mid-1970s). sometimes seemed to be taking precedence over much, if not more than, their music, because • Pioneer: Shamrock. the musical considerations. the visuals could be used year after year with • Racine Scouts: (pre-DCI) Pose from the flag 2000 different musical compositions. raising at Iwo Jima. Winning musical programs played by the Although some of these have been • Santa Clara Vanguard: Bottle dance, Cadets and the Cavaliers: Cadets -- “We Are The mentioned throughout the chapter as they collapsing “Y,” cymbal line “V” at end of a Future”: Reflections of Youth, Search for Self, occurred, here is a list of some of the most performance. Family and Fun, Life, Promise; Cavaliers -- memorable ones. In some cases signatures • Scout House: Toy soldiers routine. “Niagara Falls” by Michael Daugherty. represented designers and sometimes when the • Skokie Indians: Starting line-to-50 company DCI called the 2000 season a “celebration of designer left, so did his particular signature. front (circa 1957). the human spirit” and it did become a • Blue Devils: Gate swings (through 1987, not • St. Mary’s Cardinals: Full-corps company celebration for many -- brass instruments, color 1984). front turn in their OTL’s of early 1960s. guards, the first-place Cadets and Cavaliers • Blue Rock: Marching backwards over the • Star of Indiana: Star. whose combined 256 members went home with finish line. • 27th Lancers: Magic of their rifle lines, spins medals and the fifth-place Boston Crusaders • Boston Crusaders: Variation of a pinwheel to lying down, double-flags, rotating fronts, and sixth-place Blue Knights who earned spots give a company front. giant wheel (late 1970s), goosestep (started in the top six for the first time. • Blue Stars: Rotating box, circa 1975. Star (in 1975). It didn’t seem possible that there could be various forms) in every show since at least • Troopers: Sunburst (expanding circle), yet another first-place tie. Not only was this a 1993. actually done first by Rick Maass’ Norwood first-place tie for three years out of the last five, • Bridgemen: fainting all-fall-down (1976 and Park Imperials prior to 1963. Then the but a tie for two years in a row -- 1996 Blue 1978 finals), horn line shuffle, traffic jam Troopers picked up on it and carried it to Devils and Phantom Regiment, 1999 Blue (1978), War Between the States (1980). a new and higher level, their vintage Devils and Santa Clara Vanguard and 2000 • Cadets: Prayer block, Z-pull, “toilet bowl,” company front to the 50 OTL. Cadets and Cavaliers. meat-grinder, scatter drill, unusual ways of • Troopers (early-1970s) and Guardsmen: Rifle Ties getting into company fronts, Garfield and pike head choppers -- the rifle tosses a Drum corps fans don’t like ties (the finals recreated “Battle of Trenton” (1971) twice triple, ducks down and the pike/flag chops audience chanted “no more ties”) and many under the direction of Bobby Hoffman. through between the rifle person and the rifle don’t believe in the authenticity of them. • Cavaliers: Marching over guard during Softly while it is still in the air. In the Guardsmen However, in all cases, each corps presented as I Leave You with the hesitation, dragon, version, the rifle didn’t duck. Also, in later something unique, something outstanding and diamond cutter. years, a pike floor sweep was added to the something memorable and each of the corps • Connecticut Hurricanes: Lightning bolt head chopper move. Guillotine move. starred in different captions. concert formation. Probably attributed first to Troopers in the The Cadets and Cavaliers didn’t tie in any • Crossmen: Cross, “Bones.” 1960s/1970s. Later used by Madison Scouts caption, each judge made a unique decision, yet • Guardsmen: Rifle and pike head choppers, who were very good at this, also Guardsmen the total scores were identical. rifle line “hip roll” (1974-1975), drum and Phantom (popular move for winter Brass in any key major hop salute (Bill Harty, 1970s) -- with guards). Beginning in 2000, D&BC can now stand for tall fuzzy hat, jump step and hand salute that • Skyliners and Bridgemen: Traffic jams drum and brass corps as some in the activity started out fast and slowed to a stop. (designed by Bobby Hoffman). (Blue Devils and Cadets) have already made • Kilties: Chattanooga Choo Choo many • Velvet Knights: Shark. their move to the use of brass instruments in different years, the last being 1974. • Yankee Rebels and Bayonne Bridgemen: Civil any key, as approved in 1999. • Madison: Fleur de lis, rotating company-front, War productions. The changes in the instrument over the head choppers, cymbal extravaganzas, horn Into the 21st Century years have been referred to as “changes that ripple, copied Iwo Jima color pre in 1976. As this history is being written, Drum Corps constantly pursued greater musicality through • Spectacle City Mariners “Captain Crunch” World is celebrating its 30th anniversary and we the evolution of a ‘novelty noisemaker’ into a drum majors (John Brazale and Joe Bruno, are approaching the 30th anniversary of Drum legitimate musical instrument.” early 1970s). Corps International in the year 2002. Corps are Recognition for the color guard • Phantom Regiment: Chevron, Rockford File better than ever in all divisions and many of the One of the biggest winners in 2000 was the (first used by Anaheim Kingsmen in 1970s), 2002 DCI finalists will be using B-flat or multi- color guard. Until this year, while the brass and wedge, tick-tock flags, iceburgs drill, box key horns. Many of the division I corps and percussion were judged both on the field and in cross-throughs and triple box cross-through, even some in division II will be marching the the stands, the color guards’ efforts figured only crab-step, drum major’s reaching behind 135 maximum members. into the overall visual scores. Only at a few 178

santa clara vanguard cadets, Santa Clara, CA (2001). emerald knights, Cedar Rapids, IA (2001). crossmen, Newark, DE (2001). Photo by Karen Sunmark from the collection of Drum Corps World. Photo by Dan Scafidi from the collection of Drum Corps World. Photo by Alan Winslow from the collection of Drum Corps World. shows would there be a specific color guard followed this new system. subsided with the musical variations of the judge, yet neither the guard’s placement nor its In 2000, three corps performed music from cascading water and spectacular scenery. score explicitly affected the corps’ overall score. George Bizet’s “Carmen,” the division II The innovative design provided numerous From the beginning, a drum corps was fourth- place corps, Jersey Surf, the division III allusions to water, both musically and in the comprised of three fundamental groups, brass, second-place Americanos and fourth-place drill. After so many years of difficult equipment percussion and guard, with varying importance General Butler Vagabonds. and body work, the Cavaliers’ guard was finally of each of these sections. But as the drum The Phantom Regiment and Blue Knights able to benefit from the new color guard corps activity evolved, the function of the color sported new uniforms, which made them look a judging caption. Cast as feisty sailors, they guard changed drastically, as they played an bit like the 27th Lancers and Blue Devils, displayed quality throughout, from ensemble increasingly important role in the actual respectively. One of the comments about the work to soloists, and were impressive with their performance, moving from the bearers of rifles loss of corps identity revolves around the backhanded sabre grabs. and sabres that guarded the corps, state and sameness of the current uniforms. It is even The brass provided big hits and a jam national flags, to the point where they have possible for a marching band to order a session, along with favorite drill moves, become the exemplification of artistry, motion look-alike of some of the top drum corps from a including the fast, intricate ripple spin through and athleticism and where they often have been catalogue. the brass box in the opener and the diamond the major player or featured event in part of the The Cadets finished an undefeated season cutter in the closer. The best percussion award show -- the Sky Ryders 1985 and 1986 “Wizard with a tie for first place and a DCI World most certainly included the pit that performed of Oz” shows, 1988 Phantom Regiment’s Championship crown. In so doing, they were sensitive mallet and timpani work to “Juliets,” many of the Cadets’ character- awarded the high brass trophy and the best accompany the “shhh” of the corps and the portrayal shows and the 2000 Glassmen’s musical ensemble. rushing water dance of the guard. Gershwin show. With seven DCI World Championships in The Blue Devils explored some of the most DCI Today stated: “The color guard is an their history, the Cadets looked forward to colorful orchestral music ever written for the integral element of the show and has a great another one with “We Are the Future,” big screen. The result was “Methods of deal to do with the musical impact of all of the celebrating with the music of the Walt Disney Madness: Cinematic Music of Bernard music captions. The guard comprises roughly World “Millenium Celebration.” The passage of Hermann,” in which they explored Hermann’s 25% of the total number of members. They time was shown in the opening clock sequence, way of portraying a character’s psychology ride the same buses, pay the same dues, march providing an opportunity for the members of through selections from some of his most the same parades, are on the move at every the corps to reflect on their years of life to date, famous works -- music that was brooding, loud, rehearsal (rarely in the shade) and are some of as well as look into the future and ultimately to dark, intense, thoughtful and subject to sudden the most exposed performers on the field. celebrate the youth within us all. mood swings. “In addition, the color guard designers and Audiences will remember the trumpet line Selections were from the movies “Taxi staff often play an integral role in the playing in perfect synchronization while Driver” -- “Night Piece for Saxophone and development of the program. Their attention to fingering one another’s valves, the tenor solo Orchestra . . . Prelude and Blues;” “On color, mood, movement, choreography and on the sideline and the tenor drum players Dangerous Ground” -- Prelude; “Psycho” -- staging is more than deserving of specific performing backwards while rotating one Narrative for Orchestra; “Fahrenheit 451”: The feedback at every competitive DCI event. around the other, the meat grinder in the Book People; “Vertigo” -- Scene d’Amour; and “With all of these factors considered, it was exit drill and the majestic company front “North by Northwest” -- The Wild Ride. time for a change. It was proposed and which brought the audience to its feet and kept “The Age of Reverence” was quite a accepted that an eighth judge would be added them there. departure from recent Santa Clara Vanguard whose primary objective would be to evaluate The Cavaliers gave their best performance of programs, as it was comprised of 20th Century the auxiliary -- the excellence, technique and the season at DCI Finals to come from behind music written for small chamber ensembles vocabulary (or content) of the color guard, as and tie the Cadets for the world championship, rather than for full orchestra, which required a well as adding an auxiliary caption to the being awarded the best percussion and best creative leap of imagination to project them sheets. color guard captions, along with best GE and onto the drum corps field. “As always, the guard influences the areas of best marching. The challenging musical book, which performance and ensemble visual as well as They took the audience on a wild musical demanded precise articulation and phrasing, visual effect. And now, with this new system, and visual ride down the Niagara River, heading included Prayer No. 4 from Samuel Barber’s just as the brass and the percussion have their directly toward Niagara Falls, playing Michael “Prayers of Kierkegaard,” Bela Bartok’s String own separate scores, the color guard alone is Daugherty’s composition “Niagara Falls,” Quartet No. 4, mvt. 5, followed by his “Piano responsible for its specific portion of the overall described as a “meditation on the American Concerto No.1,” mvt. 3, Barber’s Agnus Dei score.” sublime,” with the end of the journey being from “Adagio for Strings” and closing with Since the beginning of the 2000 competitive their third DCI title. David Gillingham’s percussive “Stained Glass,” season, all DCI-sponsored events, as well as This unique piece of music was based on a movements 1 and 3 (Foyers and Suncatchers). most all other drum corps competitions, have recurring four-note ostinato that expanded and As always, Santa Clara provided a 179

silver knights, Ludlow, MA (2001). kips bay crusaders, Bronx, NY (2001). yamato, Riverside, CA/Kyoto, Japan (2001). Photo by Ron Walloch from the collection of Drum Corps World. Photo by David Rice from the collection of Drum Corps World. Photo by Richard Wersinger from the collection of Drum Corps World. fan-favorite show, with memorable features “Jeux,” Igor Stravinsky’s “Petrouchka,” Arnold their legs and the effective use of brass soloists, including the beautiful Agnus Dei as a ballad, Schoenberg’s “Transfigured Night” and duos and quartets throughout. All of these an entertaining pit, the domino effect horns-up Stravinsky’s “Rite of Spring.” were fitting to the jazz genre. and the finale drill. The corps had masterful control of a It was a bold departure for the Madison At the end of the1999 season, everyone was somewhat impressionistic repertoire not Scouts to present “The Cossack Brotherhood,” talking about the Boston Crusaders’ success in translated easily to the field, as it contained an uncharacteristic program (for them) that becoming a first-time DCI top-12 finalist. To difficult rhythms and melodies that often attempted to capture the fierce passion of the top that off, in 2000, their 60th year, they had required finesse and delicate interpretation Russian and Ukrainian citizens as they perhaps the most inspirational victory of the rather than brash power. protected their lands from invading hordes. season. Some memorable visual moments were the The will of the people was heard through In their second DCI Finals appearance, they 11 marching drum sets (tri-toms with a snare the nationalistic/classical music of finished in fifth and captured the Spirit of and cymbal attached) and the massed brass Khachaturian and Shostakovich, as well as the Disney award with a program consisting of body sculpture at the finale. film score from “Taras Bulba” by Franz Latin music that interpreted the moods and The Glassmen carried the audience to Waxman. emotions generated by the color “Red” -- another era, as they performed “Music of The guard highlighted the theme with “Prologue,” “Movement I: Intensity,” George Gershwin,” all three movements of colorful orange Cossack garb, which was “Movement II: Passion,” Time to Say Good-bye, George Gershwin’s 1925 Concerto in F, somewhat misleading to the audience -- at first Movement III: Festivity” and Clifton Williams’ originally written for piano and orchestra, and glance it looked more like it might be the Santa Symphonic Dance #3, Fiesta.” one of the most successful marriages of Clara Vanguard on the field performing a The theme of Ravel’s Bolero surfaced American popular and concert hall music. Russian-themed show. They wowed the fans throughout the presentation and especially The Glassmen guard, constantly on the with Russian artistry in the Cossack dancing moving was the corps’ vocal rendition in Italian move with their interpretations of jazz, and offered a design that featured an offset pit, of the ballad, Time to Say Goodbye, Charleston and symphonic rhythms, was so allowing the audience to view the entire horn accompanied by a guard feature. Boston had powerfully the center of attention during the line, guard or drum line performing on the the fans 100% behind them, with a huge entire show that one often might forget to sideline at various points during the show. ovation at the end of their performance, for a watch the rest of the corps. The program was a delightful departure, but show that was extremely clean, musically and The guard ladies all wore bobbed hair (wigs) like others in the past, the corps was not visually. typical of the jazz age when the piece was rewarded for such an abrupt change in The Blue Knights have long been noted for written, with the hair color emphasized to programming. their colorful hand-painted flags, filling the make each member of the guard very As Carolina Crown entered its second field with incredible shades and hues that also noticeable -- whether it was raven black, copper decade, it continued in its previously successful interpret the colors of the music. This year, the red or near-white blonde. experimentation with stage musicals, this year corps was as musically colorful as it was The Glassmen’s drill formations -- wedges, presenting Thomas Horner’s swashbuckling visually, with “Colors of Brass and Percussion,” boxes or rotating boxes -- were visually strong film score to “The Mask of Zorro,” offering a a well-designed show based on the music of and well-marched. mysterious and emotional, Spanish-flavored British brass band composer Peter Graham. Their past met their future in the show, with subtle references to the heroic Graham’s Montage explored a variety of Crossmen’s diverse program titled “At the theme. styles, with a theme that kept coming back Crossroads” -- In the Mood, Caravan, Nobody The pit, which was offset to the right of the under different guises and moods and Does Me (Like You Do), Cup of Life and closing 50-yard line, allowed the corps to move in and conflicting emotions. In their presentation of with Birdland (which they had played with perform on the front sideline. The corps’ “The Essence of Time,” the Knights’ featured a great success in 1996 and 1997). marching technique was outstanding, with frenetic exchange between the brass (with 16 An example was the world music approach straight legs, nice line rotations and in-time mellophones) and percussion, with a powerful to the jazzy drum book. But much was familiar directional changes. The highpoint of their finale that dramatically uplifted the recurring to corps fans as well, such as the return to the show was Paul Rennick’s musical drum line, theme, effectively bringing to life the titles of type of full-blown visuals and aggressive horn which was impressively clean and the highest the various movements -- A Time for Love, A books (written by Chuck Naffier) that were scoring caption for the corps. Time for Hate and A Time for Peace. previously trademarks of the corps and a The Bluecoats have long entertained The Phantom Regiment has long been trademark drill form familiar to all “Bones” audiences with traditional big band jazz. But, renowned as drum corps’ originator of fans. in 2000, the corps climbed back into the top 12 symphonic pageantry. In “The Master’s of This show was joyous and spirited. Some and into the world of contemporary jazz of the Mystique” (“The Dawn of Modern Music”), the particular things to be remembered were the 1980s and early 1990s, with the music of corps added color and motion to selected sideline toms played by the cymbal line during Patrick Williams, known for his various themes orchestral arrangements of early 20th Century the drum feature, the solo guard member on for several hit television shows. ballet music, which included Claude Debussy’s double flags, the way the brass players crossed The show was titled “Threshold,” the name 180

phantom regiment, Rockford, IL (2001). mccullough royal knights, Washington, D.C. (2001). spirit of newark, Newark, NJ (2001). Photo by Alan Winslow from the collection of Drum Corps World. Photo by Ron Walloch from the collection of Drum Corps World. Photo by Ron Walloch from the collection of Drum Corps World. of one of Williams’ best known albums, and college bands across the country. The quality moving, emotional experience. included an original Introduction-Overture, extended down into division II and III and, as Some corps -- Cavaliers, Phantom, And On the Sixth Day, The Witch, Clas always, Drum Corps Midwest was Glassmen and Boston -- had their drum lines Ogerman’s lush ballad Air Antique and an well-represented in the top-12, with half the stationary on the back sidelines for what original Closing-Recapitulation. corps coming from that circuit -- Cavaliers, seemed like a long period during the middle They presented some innovative elements in Glassmen, Phantom Regiment, Bluecoats, (ballad) portion of their shows. There were show design, such as the multi-colored screens Madison Scouts and Colts. amazing sounds coming out of the pit, from on the front sideline, which concealed sections Brass multiple marimbas, bells, chimes, gongs and a of the horn line and guard. Although not new More corps switched to B-flat horns in 2001. wide selection of drums of all sizes. to color guards, another creative addition was Joining the Cadets and Blue Devils, who had And a number of corps drew unusual the guard work performed using elasticized already switched in 2000, were the Cavaliers, attention with their cymbal lines -- Santa Clara, material bands attached to their feet. Santa Clara Vanguard, Spirit, Kiwanis Kavaliers Carolina Crown, Madison and Capital Regiment. Missing finals by less than three-tenths of a and Carolina Crown. The rest were still using Some of the guards were praised for doing point, Southwind, the newcomer to Drum G bugles. There was a great deal of discussion more equipment work, not just dancing. And Corps Midwest, made a powerful and exciting of the pros and cons of B-flat vs. G horns. some of the guards wore tight body suits and statement with classical music of Gustave Holst Caption awards tails. (Intermezzo and March from “First Suite in The high caption awards determined by The Cavaliers’ “Four Corners,” an original E-flat”), the film score from “Legends of the averaging caption scores from quarterfinals, composition by Richard Saucedo, was a Fall” and concluding with Les semi-finals and finals saw the Cavaliers winning symphonic jazz/rock suite with influences of Preludes/Totentanz by Franz Liszt. overall GE, the Cadets winning percussion and progressive jazz, big band, movie soundtracks, Each section of the corps worked together the Blue Devils taking brass, visual and color contemporary wind music and classic drum to create a seamless show, with each guard. However, on finals night, the Cavaliers corps. The four-movement work was inspired component complementing each other, for one won guard. by a concept imagined by visual designer of the most impressive shows of the year. Music Michael Gaines and, during the season, the The Colts dropped to fourteenth place with The 2001 season was one of wind ensemble rumor grew that the drill was written first and the contemporary wind music of Stephen music, being played either as an entire or then the music, but this has been denied by the Melillo’s Wait of the World, the third “chapter” partial program by Cavaliers, Blue Devils, Santa Cavalier administration. in a series of pieces collectively known as Clara Vanguard, Bluecoats, Boston Crusaders, The show was about a visual concept, “Stormworks.” Carolina Crown and Colts. Madison continued however, the music was based on some visual Finals ended with the massed corps playing to play jazz and Phantom played classical components, as well as some fairly complex and Scott Boerma’s arrangement of America/O selections. important musical concepts. Canada, directed by Col. Truman Crawford, Following the example of the championship The first movement had a strong rhythmic retired. 1996 Blue Devils and the 2000 Cavaliers, two groove, with polyrhythmic complexities that 2001 corps continued to visit the music of Michael took minimalism to the max; the second Winning musical program played by the Daugherty (Bluecoats and Carolina Crown) and movement moved with a flurry of sight and Cavaliers: “Four Corners” by Richard Saucedo. some corps incorporated medieval themes into sound, with a lush harmonic background and Membership expansion their programs (Colts, Bluecoats, Santa Clara). heroic cadences; the third movement was a In 2001, division I corps were allowed to Several corps were accused of too much funky, hip-hop percussion and guard feature, expand their membership from 128 to 135. park and blow (Cadets, Phantom, Crossmen, with dissonant and sporadic brass murmurs; Corps made use of this increase in membership Madison) while the Blue Devils were and the fourth movement recapitulated what in various ways, such as larger horn lines or commended for less park and blow and moving had gone before. larger guards, allowing more members to be more and faster than usual. The show has been described as a “visual involved in the drill, as this had decreased Some corps had hidden messages in their feast.” The dazzling drill moved at between 198 recently with more and more instruments and shows -- Cavies had a touch of their old friend and 208 bpm in the opener and the closing players going to the pit -- most top-12 corps Somewhere Over the Rainbow, Bluecoats used tempo was between 214 and 219 bpm. In the had at least eight keyboard instruments -- and the Dies Irae, Phantom Regiment had the introduction, there was a flag toss over the with some corps, a return to marching cymbals. Doxology in a minor setting and there was a horn line that was vintage Cavaliers. Division II corps could have between 61 and brief glimpse of the bottle dance by Santa Clara. Right before the drum solo, the horns went 135 members and division III could have up to It was a year of power ballads. The across the field doing files of gate turns. There 60 members. Glassmen were said to have had the best ballad was a limited diamond cutter. The corps was The number of corps may be declining, but of the year with the flugel horn soloist, running backward in a block at the end of the the quality remained very high and getting Cavaliers had a cool ballad with the sopranos show. The exit looked like an old-time exit better and better, as the majority of marching doing a backfield echo effect and, as always, coupled with a fantastic new-era drill. members were coming out of high school and Phantom had their classic ballad, which was a This was a total package with strong overall 181

scenic city, Chattanooga, TN (2001). phoenix cadets, Brick, NJ (2001). senateurs, Joliette, QUE (2001). Photo by Harry Heidelmark from the collection of Drum Corps World. Photo by Harry Heidelmark from the collection of Drum Corps World. Photo by Dan Scafidi from the collection of Drum Corps World. program design integration, executed by a piece, was concurrent with the glory days of melodies of Argentina, “Panambi” highlighted drum corps machine, with power, direction, Broadway. visual frenzy and Orbon’s “Pavana” ended the emotion and discernible dynamics. The Bob Fosse-style guard was impressive program with a mood of celebration. The DCI Board of Directors had passed a and there was positive commentary about the Opinions were widespread about the tie-breaking resolution for first place (but did fact that the Blue Devils moved more and faster Glassmen’s program, ranging from exciting not say anything about second place, which is than in some previous programs. During the with “lots of wham,” to boring, but one thing where this year’s tie occurred between the ballad, the battery had all the basses in a everyone agreed on was the spectacular talent Cadets and the Blue Devils). horizontal position. A fan described the show of the flugelhorn soloist, Kevin Creasy. In their presentation of “Juxtaperformance,” as “symphonic jazz with lots of wham” and The Phantom Regiment presented it seemed like the Cadets were risking a return there were numerous calls for a return to “Virtuoso,” a title that described both the to some of the concepts of the 1970s drum authentic Blue Devils jazz. technical difficulty of their music and the corps scene, moving from a single concept The Santa Clara Vanguard presented “New ability of their performers. They presented the program/composition typical of the late 1980s Era Metropolis,” five sketches symbolic of the music of two 20th Century composers, Bela and 1990s, to playing a diverse repertoire of daily struggle to make ends meet, typical of our Bartok’s “Concerto for Orchestra” and Dimitri four contrasting and unrelated selections -- fast-paced culture. The repertoire was Shostakovich’s Festive Overture, arranged by Benjamin Britten’s Young Person’s Guide to the appropriately drawn from music written in the Michael Klesch who had been the arranger for Orchestra, with small groups of instruments last half of the 20th Century by American three of the Cadets’ championship programs. and guard introducing the various instrumental composers John Adams, Donald Freund, The Festive Overture included a “toy sections and visual elements and concluding Norman Dello Joio and Aaron Jay Kernis, whose soldier” section, where the entire horn line, with a fugue. New Era Dance caused quite a sensation as the standing in an arc, did knee bends and a toy The two-against-three meters of YPG were corps did an urban, “New Era” chant, which soldier march. conducted by two drum majors, rather than by was part of the original composition. Although Phantom has been noted in recent one as Santa Clara had done in 1981. Next Santa Clara’s low brass section was one of years for their ability to deliver beautiful came Van Morrison’s singable and danceable the best and most powerful on the field, ballads, this musical program was also Moondance, Pat Cassidy’s Vide Cor Meum, a partially due to a large number of euphoniums. comprised of a perpetual blizzard of melodic ballad featuring the guard with the brass as a Their 1991 collapsing Y was reprised in 2001 runs and rhythmic thrusts. The brass line was backdrop curtain and devoid of percussion, and and the swinging box move that ended the first considered outstanding in their ability to play. concluding with Bizet’s multi-themed half of the show in 1999 was used again. For their stunning finals performance, the Farandole. During the siren, a box was moving in Phantom Regiment was said to have the most Elements of a 1970s concert were present as multiple directions and going through this box exciting, powerful and inspiring ending of the some of the corps parked (reclined) on the field was a follow the leader line, zigzagging much season, which earned them several standing and there was much discussion about the like a bicycle rider trying to get through a busy ovations, pulling the audience out of their seats unusual comma- or cashew-shaped equipment New York sidewalk during rush hour. And well before the ending of the show. that replaced rifles, one comment being that there was a drill snake going through a moving One fan said, “Phantom was great, with an the tosses did not seem as high. block in the closer, which fit the music. ordinary show because of how they performed It was reported that the management Santa Clara won the Spirit of Disney Award it,” and a marching member said, “It (finals) wanted to get away from war-like symbolism for entertainment and will be remembered for was definitely our most emotional show of the that rifles and sabres represent. The visual an excellent pit, which has been referred to as year. One thing that will always stand out in show included a company front, a starburst that the “toughest pit book ever written” by the my mind was the deafening roar of the crowd -- unfolded and a block turning inside out. corps’ percussion caption head, Jim Casella, the so loud I had to glue my eyes on the drum In the 25th anniversary year of the Blue creative use of cymbals and the “New Era” major to be sure I was playing in time. I Devils’ first of 10 DCI Championships, the rap/chant at the end of the program, as well as couldn’t hear anyone around me.” corps’ commitment to innovative, entertaining a sneak-peek of the bottle dance. The Crossmen visited Manhattan jazz clubs jazz was demonstrated in their “Awayday Blue” In celebration of their 40th anniversary, the for some “Late Night Jazz,” cutting loose on program, which was based on their choice of Glassmen presented “IMAGO,” a rather intense Earle Hagen’s Harlem Nocturne, Flyin’ Home Adam Gorb’s “Awayday,” described by the program of dramatic musical and visual impact, by Benny Goodman and Lionel Hampton, composer as “Gershwin, Bernstein, Stravinsky inspired by the music of Alberto Ginastera and Arturo Sandoval’s Guaguanco and Fire Dance and James Bond traveling together at a Julian Orbon, two of the composers of the 1996 by Jeffrey Tyzik and Allen Vuzzutti. hundred miles per hour in an open-top sports Cavalier program. There was an “Anything you can do, I can do car” and Donald Grantham’s “Fantasy Creating a wide range of moods, which better” segment between the snares and toms Variations,” which was based on “Prelude No. 2” included conflict, mysticism and calm, and the color guard spun “fire” in the flags, from Gershwin’s “Three Preludes for Piano,” “Invocation” transformed Ginastera’s helping to create the frenzied emotion of the reflecting the hopes and promises of Gershwin’s symphonic “Impetuosomente” to a drum corps closing number. “Bones,” the phantom who day which, along with the spirit of the Gorb setting. “Meditation” was inspired by folk represents all Crossmen of the past, made an 182

stentors, Sherbrooke, QUE (2001). southern oregon crusaders, Medford, OR (2001). taipei yuehfu, Taipei, Taiwan, China (2001). Photo by Ron Walloch from the collection of Drum Corps World. Photo by Francesca Colombini from the collection of Drum Corps World. Photo by Harry Heidelmark from the collection of Drum Corps World. appearance at finals, then disappeared again. it did in its original format.” outstanding, the show was entertaining and the Had there been such an award, the “Hot Jazz, Madison Style” featured four crowd really got into the spirit of the Crossmen would have won “top aircraft” for the selections from the “Stereophonic Suite for Two performance. This corps, along with many distracting plane (sponsored by Crossmen Bands” by Les Brown and Vic Shoen, which senior corps, are constantly proving the high parents) that flew over the finals field during included an old Madison favorite, Ballet in entertainment value of drum corps at the adult the performances of both Madison and Boston. Brass. The Scouts were penalized 3.6 points at level of the activity. In “Latin Sketches,” the Bluecoats explored quarterfinals for being late onto the field. “BLAST!” two works of Michael Daugherty that delved “Chivalry” provided the Colts with a Having previewed in London in 1999, the into his fascination with Afro-Cuban jazz and medieval-themed program in which the corps stage version of the Star of Indiana, an particularly the traditional passionate Latin portrayed a village festival and a battle through “audio-visual extravaganza,” opened on dances. Cuban percussion instruments pulsed musical selections of David Holsinger (Sinfonia Broadway on April 17, 2001, breaking down in Candelabra Rumba and Red Cape Tango. Voci), Ron Nelson (Allemande from “Courtly barriers between musical pageantry and The final movement from “Metropolis Airs and Dances”), an original percussion conventional theatre. Symphony” explored musical styles of jazz, feature supporting the battle scene by Mark The very successful production, which has rock, funk and avant-garde and is especially Smith and Ryan Thomas and two numbers been described by some, as “drum corps on the memorable for the principle melody, which was from Patrick Doyle’s “Henry V,” including Non stage,” wowed audiences with the precision derived from the Medieval Latin Dies Irae death Nobis Domine. This was one of the Colts’ best swirling of flags and other guard equipment, chant. visual productions, with the fight scene being a the dynamic beat of the percussion, the intense The Daugherty music worked well for the high point of the program. sound of the brass and stunning Bluecoats and the guard’s tango footwork was The usually serious and sometimes esoteric choreography. For this spectacular production, captivating. Blue Knights drastically changed their identity “BLAST!” became the first recipient of the “Harmonium” may be the most progressive to present a show inspired by cartoons. Titled newly-created Tony Award for Special Theatrical show brought to the field by the Boston “Blue Toons,” the corps played Cartoon by Paul Event. Crusaders. This unique mixture of Hart and Black Market Juggler by Joe Zawinal Some of the features presented in the contemporary symphonic literature and lovely landing them in 13 place, leading some to two-hour show that had roots in the drum and ballads, included: Wild Nights from John believe they were trying to become a new bugle corps activity were the musical selections Adams’ “Harmonium,” Marimba Spiritual by version of the Velvet Knights. As history has Malagueña and Bolero (Madison), Land of Minoru Miki, The Mission by Ennio Morricone proved, such a change of identity does not Make Believe (Bridgemen), Simple Gifts from and aspects of Dance of the New World and usually work in the first year it is tried. “Appalachian Spring” (Santa Clara Vanguard Shakata -- Singing the World into Existence But there is an opening in today’s drum and Cadets) and “Medea” (Star of Indiana), as from The Music of Dana Wilson. The corps corps scene for a new Bridgemen or Velvet well as visual features such as the Cavaliers moved into a big horn block for a Knights. Will it be the Blue Knights or horn line stepping over the guard and the “Conquest-tease.” Impulse, a corps that has a staff partially from Bridgemen’s blindfolded drum feature. Wood, rubber and metal were used as the the old Velvet Knights? After closing on Broadway in late visual basis of Carolina Crown’s “Industry” The former Spirit of Atlanta became September, 2001, the cast shifted to a one-year production that was inspired by a fascination associated with Jackson State University in engagement at California Adventure, the new with construction, supported by a framework of Jacksonville for the 2001 season and is now park at Disneyland performing five 30-minute three musical selections that conveyed the known simply as Spirit. As Spirit of Atlanta shortened versions of “BLAST” per day, six days characteristics of each of these materials -- during the 1980s, this corps was noted for not a week and is scheduled through early 2003. David Gillingham’s “Concertino for Four having horns in the best condition (particularly A full touring cast is making its way around Percussion,” Rachel Portman’s Main Title from contras) and, in fact, that corps didn’t go the United States and Canada on a two-year “The Cider House Rules” and Michael completely rotor-less until the 1993 season, schedule that began in St. Louis, MO, in Daugherty’s Motown Metal. when they were no longer a finalist. September, 2001. It has played to near sell-out The music was considered a bit esoteric, But in 2001, this was a state of the art corps, audiences in one- to two-week engagements. but, as always, the corps had an interesting sporting a new set of Kanstul B-flat/F marching Producer Jim Mason is a former member of visual concept that highlighted elements of brass, conical-bore B-flat trumpets, F alto the Cedar Rapids, IA, Grenadiers and Madison, contrast. Crown also had one of the best pits of horns, B-flat baritones and Euphoniums and WI, Scouts, and former director of the the season. the famous Kanstul 5/4 B-flat marching tuba. Marshalltown, IA, Eye Openers and Dubuque, A fan described the opener as a “medley that And this still-Southern corps presented IA, Colts. He left the Colts at the end of the included some percussion work, then a chunk movements from Eric Whitacre’s Ghost Train 1984 season to help corporate sponsor Bill of Sandstorm by Darude (an electronic dance and set themselves up for a finalist bid in 2002. Cook and Cook Group Companies get Star of song), then the Concertino for Four Mighty St. Joe’s alumni corps performed an Indiana underway in Bloomington. Percussion.” He added, “Sandstorm sounded a exhibition of “West Side Story” arrangements Following a successful nine-year run lot better coming out of Crown’s horn line than with a 60-member horn line. The soloists were competing in the drum and bugle corps activity, 183

the cadets, Bergenfield, NJ (2001). sentinelles, Varennes, QUE (2001). teal sound, Jacksonville, FL (2001). Photo by Alan Winslow from the collection of Drum Corps World. Photo by Dan Scafidi from the collection of Drum Corps World. Photo by Dan Scafidi from the collection of Drum Corps World. he took the group in another direction by 1982 through 1984, with the top four corps march 34 in the guard. Snare lines will teaming up with Canadian Brass for three being Cadets, Blue Devils, Santa Clara Vanguard number between eight and 10, with The summers of “Brass Theater.” Following two and Phantom Regiment. Cavaliers and The Cadets both marching 10. additional summers in the resort town of Brass Corps changes Branson, MO, the current production was This will be the third year that multi-key Magic of Orlando will return to competition finalized and debuted in London where it played horns can be used and more corps will move to in division II, but because of some prestigious to large audiences for six months before B-flat or multi-key instruments. Joining corps “names” on their staff, which include Wayne heading to the United States. who played B-flat or multi-key horns in 2001 -- Downey as brass arranger, Jeff Sacktig as visual As this chaper is being written, another The Cavaliers, The Cadets, Blue Devils, Santa designer, Gino Cipriani as brass caption head production is being planned called Clara Vanguard, Boston Crusaders, Carolina and consultants Scott Johnson and Michael “Shockwave!” It will workshop during the Crown, Spirit and Kiwanis Kavaliers -- will be Cesario -- there is speculation that this new/old summer of 2002 and embark on at least a the Phantom Regiment, Bluecoats (with a set of corps might be able to make the move into one-year tour of the U.S. and smaller markets. custom-designed Kanstul B-flat horns), division I during finals week and people are In the last 80 years, there probably hasn’t Glassmen, Crossmen and Magic of Orlando. wondering if this will be the first time a been anything that has been more positive in At the time this chapter is being finalized, division II corps is able to make the top 12. bringing marching pageantry to a broader those junior corps remaining on “G” bugles They will be playing music from “The Wind and audience than the efforts of Jim Mason and include: the Madison Scouts, Colts, Blue the Lion.” “BLAST!” The program book handed to each Knights and Seattle Cascades, as well as all of Seattle Cascades, playing music of audience member in London, in California and the division II and III corps. Bernstein, will also enter division I in 2001 and on the U.S. tour contains numerous references All of the DCA seniors are still using “G” hopes to become a finalist. Their drill will be to the roots of this production coming directly bugles, as are all of the alumni corps, with the written by Myron Rosander of Santa Clara from the drum and bugle corps activity. exception of the Scout House Alumni Corps. Vanguard fame. And there will be a rather What to expect in 2002 All of the military corps (U.S. Air Force long-distance collaboration between the The 2002 season marks the 30th Academy, U.S. Naval Academy and the U.S. Canadian corps Kiwanis Kavaliers and Florida’s Anniversary of DCI. While the first two DCI Coast Guard Academy) are still in G. So is the Tampa Bay Thunder. finals were held at Warhawk Stadium in U.S. Marine Drum & Bugle Corps, the Boston will have sharp new uniforms and Whitewater, WI, that site is not large enough to “Commandant’s Own,” in Washington, D.C. Magic of Orlando will have new Michael seat the expected 2002 audience. With the new bugles in multi-keys and some Cesario-designed uniforms. The finals will be held in nearby Madison, corps still using G bugles, it meant that Judging sheets WI, for the sixth time (previously in 1985, 1986, America/O Canada had to be rearranged for a Finally, the word “entertainment” has been 1987, 1992, 1999). Madison and Kansas City number of different keys. So there are now put on the GE sheet as an official component. have been the most centrally located sites for three versions, in G, B-flat and B-flat/F. All the Corps will now be rewarded for keeping the DCI Championships in the last three decades. notes are the same in the 2002 versions, just in audience engaged and involved. Also, the Pre-season reports have most corps in solid different keys and clefs. people judging GE will see the corps no more shape, with record turnouts and many corps, The arranger of both the 1996 and 2002 than three times all summer long. This including the division II Capital Regiment, version is Scott Boerma of the Madison Scouts. change will hopefully allow their reactions to be reporting that they plan to field 135 this The work is published by Madison Music Works. more spontaneous and less analytical; summer. More corps are converting to B-flat In 2002, the Crossmen horn sound will be sometimes when one sees a show too often, the and/or multi-key horns. Programs seem to pretty unique as they will be playing specially impacts become less and less as one starts to continue where they left off last season, with designed “outdoor” trumpets and, for the first expect them. 20th Century wind ensemble, original time in corps history, they will be playing on a If the end result is more entertaining compositions, classical, jazz and film music. matched set of horns. Their line will include programs, the better for the audience, the corps With the return of Magic of Orlando, going six flugelhorns, which will be featured several and the activity as a whole! against Capitol Regiment (both will probably times in their show. Along with 10 Once again, the proposal for use of have full corps), Mandarins, Spartans, Patriots, mellophones, these horns are expected to electronics was defeated, but it will continue to Jersey Surf, Santa Clara Vanguard Cadets and provide their jazz book with a much more come up for consideraton in the future. East Coast Jazz, along with other strong distinct sound. Anticipated programs showings by Impulse and Capital Sound, this Percussion The Cavaliers will move to a one word title should be a very competitive summer. In 2002, the standard number of with “Frameworks,” music again composed by Everyone is wondering if the Cavaliers can quads/tenors and basses will be five and five, Richard Saucedo and Bret Kuhn and Erik tie with the Cadets for three consecutive respectively, including the Madison Scouts, who Johnson adding the percussion element. championships. The top four grouping has have usually marched six bass drums. The Blue Devils will play “Jazz, Music Made in contained the same corps since 1998. The Scouts will also have a new section called America,” including a closer built on Channel previous longest streak was three years, from Xmen, based on “Stomp” and they will also One Suite (which contributed to their 184

bluecoats, Canton, OH (2001). blue devils, Concord, CA (2001). “blast!’ (star of indiana), based in Bloomington, INI (2001). Photo by Alan Winslow from the collection of Drum Corps World. Photo by Alan Winslow from the collection of Drum Corps World. Photo courtesy of “BLAST!” public relations. championships in 1976 and 1986). composition is apparently being woven into the all off-season for the return performance of The Cadets have a patriotic program, titled Scouts’ routine amidst the other version of “Big Blue in 2002.” “The American Revival,” bringing back Conquistador. My Conquistadore is part of an The Royal Airs were undoubtedly one of the memories of their 1995 show, and will feature a album concept titled “Legends of the World,” most musical and classiest drum and bugle toe-tapping Boogie Woogie Bugle Boy. which already had about 12 original corps of the 1960s. The 1965 corps is Santa Clara will present “Sound, Shape compositions and is slated to become a full considered “the beginning of modern drum and Color,” including Trivandrum by Gordon album project in the future.” corps era” and the leadership is very aware of Henderson, “Symphony No. 2” by Howard The Colts’ show, titled “Revelations,” what the corps accomplished in the 1960s. Hanson and “Symphony for Organ and consists of four movements: Dawn from “Five The Royal Airs are planning to maintain Orchestra” by Aaron Copland. In describing Miniatures” by Joaquin Turina, “Concerto for their excellent traditions as they perform brass their music, Santa Clara staff has said, “The Four Percussion and Winds” and Be Now Thy arrangements by Truman Crawford, percussion Copland organ symphony is a riot of a piece. Vision by David Gillingham and Sun Paint arrangements by Mitch Markovich and Steve The scherzo (2nd mvt.) is a metrical and Rainbows on the Vast Waves by David Bedford. Fagiano and visual design/instruction by Dale polyrhythmic nightmare. More difficult in that Spirit will make a bid for finals with Peters and Paul Zimny. respect than anything ever attempted on a field. Symphonia Resurrectus (third movement) from Most of the music will come from the 1965 Pulling that off with musical accuracy will be Holsinger’s “Easter Symphony,” a beautiful and national championship show, including an immense challenge.” inspirational example of modern music. Chicago/Ballyhoo March, John Brown’s Body, Glassmen are doing an oratorio by John Blue Knights will play Samuel Barber’s Watermelon Man and Alexander’s Rag Time Adams titled “El Nino,” a complex but beautiful “Piano Concerto, Op. 38” (known as Barber’s “A Band. The closer will be It Was a Very Good piece of music that recounts the birth of Jesus. Little off the Top”). Year from 1968. They will be fielding 85 horns, It has the Adams drive and minimalist Southwind will present another program of 30 percussion (snares, single tenors, bass elements, but also some outstanding melodies classical music (Bach and Tchaikovsky), titled drums and cymbals) and 35 guard and all in a or music of Michael Torke. “Evolution,” and their closing production will new set of uniforms almost identical to the Phantom Regiment will present “Heroic be Espirit de Corps by Jager. ones they wore during the championship years. Sketches: The Passion of Shostakovich,” music Troopers will play an “American Elegy” and Another much anticipated event is the of the 20th Century Russian composer whose Pioneer will do music from “Oliver.” Hawthorne Caballeros’ “Tribute” presentation of music helped them tie for the 1996 Blue Stars will use some of their most the entire 1975 Muchachos production, championship. The horn book is being written memorable musical moments from the past arranged by the famous 1975 Muchachos by J.D. Shaw. three decades of their existence. The soprano soloist, Jeff Kievet, with Marc Sylvester It is reported the Crossmen have found connection between the seemingly unrelated as visual designer and Chris Bauer as their jazz groove and will exhibit it in “The pieces is that the corps has played all of them in percussion arranger. The program includes: Signature Series,” with Pat Metheny’s Heat of the past. There is a little bit of something for Pictures De España, “Pines of Rome,” La Fiesta, the Day, their own version of Don Ellis’ everyone -- Jewish Fanfare and Chorale (1977) Marianne from the “Grand Tour” and Concierto Strawberry Soup and Candle in the Window. is for the alumni and others who like powerful, de Aranjuez and will include the “rumps.” The Bluecoats will present “Urban Dances,” traditional corps music, Inferno from “Divine The Kilties senior corps will open with an portraying the moods and character of the city, Comedy” (1997) is for those who like fast, original British brass band arrangement of using music by Chris Brubeck, Bjork and driving, symphonic music. William Walton’s “Henry V,” followed by Allegro Michael Daugherty. I Dreamed a Dream from “Les Miserables” (3rd Movement) from Malcolm Arnold’s “Four Boston Crusaders will play music of (1987/1988) is for those who like a classic, Scottish Dances,” “Strike Up the Band” and American composers, highlighted by Copland’s emotional drum corps-style ballad and the closing with their trademark Auld Lang Syne. “Appalachian Spring.” Overture to “Candide” (1993) is for those who Santa Clara alums will perform at the 2002 Carolina Crown is presenting another theme like something quick and happy. DCI Finals in Madison with a projected 100 of contrast -- “Greek Mythology, Stories of Gods Kiwanis Kavaliers/Tampa Bay Thunder will brass, 50 guard and 30 percussion. and Heroes,” with music of Michael Torke and play music from Danny Elfman, Capital Outside of drum corps they, like the Blue Knights, also list a Barber Regiment will present “Climbing Everest” and Jersey Surf from Berlin, NJ, has been piano concerto. Capital Sound will be playing music from Elton contracted to provide a 40-person percussion The Madison Scouts are playing Spanish John, Pink Floyd and Kansas (Carry on, My section for an upcoming motion picture selections. The title is “Conquistador,” with Wayward Son). featuring the internationally-famous music from film scores and classical selections. Exciting things at the performance ensemble “Stomp!” They will perform two different versions of senior and alumni corps levels The feature film, titled, “Pulse: A Stomp Conquistador. One is the Jay Chattaway tune Everyone is looking forward to the reunion Odyssey”, is being shot in ultra-large-screen recorded by Maynard Ferguson. The other appearance of the legendary Chicago Royal Airs. IMAX format and will be shown to a worldwide refers to Jim Centorino as the composer. Old members of the 1965 corps and new audience following its theatrical release later Centorino explained, “The original members from other corps have been practicing this year. 185

27th lancers, Revere, MA (1979). phantom regiment, Rockford, IL (1979). santa clara vanguard, Santa Clara, CA (1977). Photo by Dale Eck from the collection of Drum Corps World. Photo by Eddie Montville from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World. State of the Art/ An excellent description of the 1977 drum Hartmann (Railmen, Bluecoats), Shaka looking into the future corps finals was provided by Richard Roznoy’s Hawkins, Fred Hedemark (Star of Indiana), In the 21st Century, there are far fewer article ”The Drum Corps International Mark Hudson (Young Americans), Jeff Hunter corps, but the quality of those remaining is Championships,” from the Instrumentalist (Freelancers), Scott Jones (Spirit of Atlanta, extremely high. And, along with a declining magazine, June, 1978. CorpsVets), Dan Kelly (Braintree Braves, number of corps, there is also a declining Also of help on the state of the art were the Braintree Warriors, Boston Crusaders, drum number of people in the audience. annual articles by Drum Corps World Publisher major), Mike Klawitter (Colts), Michael Kolle This brings up the never-ending question of Steve Vickers (Sky Ryders) that appeared in the (Guardsmen, Kilties Senior), Don Kosmal how a show can be entertaining to the audience Instrumentalist from 1975 through 1986 and in (Franklin Park Colonels, Norwood Park/Skokie and still earn the points in the current judging BD Guide from 1988 through 1993, as well as Imperials, Cavaliers, Chicago Connection), Tom system to remain competitive. repertoire descriptions written by Michael Boo Kowalak (Bridgemen), Sean Lapekas, Dennis Looking toward the future, corps must keep (Cavaliers) for the annual DCI program books Lockwood (Santa Clara Vanguard), John Lyons reinventing themselves without losing their and historical tidbits from “Trivial Ed” Trautner (St. Ann’s Band, Boston Crusaders) and Shawn traditions. Some of the major lessons learned that also appeared in Drum Corps World. McBride (Phantom Regiment). over the years are that corps must protect the Most recently I have also gotten some Also, Peter Mason (Kiwanis Kavaliers), traditions that audiences expect, but their valuable and historical information from Cliff Dawnie Morris (Bridgemen), Trish Munoz shows also must be constantly updated to Richmond (St. Raphael’s Buccaneers, USAF, Mathews (Santa Clara Vanguard), Paul Milano express current trends along with innovation. Yankee Rebels, Hawthorne Caballeros Alums), (St. Gregory the Great Crusaders, Velvet Viking Sources of Information Mike Davis (Hilltoppers, Imperial Guardsmen, Cadets, Cavaliers, Spirit of ’76, Chicago I would like to acknowledge Brian Garfield Cadets), Nancy Scopa Vetrano (I.C. Connection), Doug Peck (Austin Lancer Cadets, Tolzmann, Drum Corps World staff writer and Reveries, 27th Lancers), Maggie Kelley (Santa Precisionnaires), Nikk Pilato (Phantom owner of the Drum Corps Information Archives, Clara Vanguard), Sandy T. Lister (Crossmen) Regiment), Ted S. Podrazik (Cavaliers), Jodeen for supplying me with all of the repertoires I did and other contributors to the Internet’s “Sound Popp (Aurora Moose Minutemen, Vaqueros), Jeff not have, as well as for his statistical articles in Machine Archives Drum Corps Discussion Quamme (Madison Scouts), Patrick Rodgers Drum Corps World that provided information Group,” administered by David Schaafsma. (Flint Guardsmen), Travis Rogers (Bluecoats), about the most played compositions. These people have a wide variety of history Dan Scerpella (Madison), David Seip (Blue Also of great value was Jodeen Popp’s very dating as early as 1946, as well as a vast amount Stars), Tommy Stoval (Marquis, Carolina thorough historical volume, Competitive Drum of knowledge, including: Shaine Ainsworth Crown), Kevin Sherman (Flying Dutchmen, Corps, There and Then . . . To Here and Now, (Southwind, Pioneer), Jim Alberty (Valiant Phantom Regiment), Brian Shetterly, Jon de which traced the history of the activity through Knights, Blue Devils), Roger Ames (Connecticut Silva (Blue Raeders, Southernaires, Phantom 1979, with supplements in 1980 and 1981. Tornadoes, Hurricanes, Hawthorne Caballeros), Regiment), Carlos Soria (Santa Clara The video “Brass Roots,” released by Drum Matt Amos, Jim Anello (Racine Scouts), Alan Vanguard), John Sullivan (Boston Crusaders), Corps International in 1997, also provided Armstrong (Spirit of Atlanta), Dave Ballard John Swartz (Oakland Crusaders), Kim Thomen useful information from some of the the (Crossmen), Michael Bodine, Martin Broomell (Troopers), Richie Tochterman (Baltimore original founders and designers of DCI. (Blue Rock, Reading Buccaneers), Marianne Kingsmen, Yankee Rebels) and Bill Trusty. I also want to cite a very important article Brown (Blue Knights), Robbie Brown I have also consulted www.corpsreps.com for (October, 1982, issue of the Instrumentalist) (California Diplomats, Vaqueros, Anaheim some repertoire confirmation, along with titled, “A Capsule History of the Drum and Kingsmen, U.S. Army), Bill Callender, John information and tapes from Tom Day, drum Bugle Corps” by DCI judge Michael J. Cahill, Clasby (Gatesmen, Boston Crusaders, corps historian and founder and president of which provided important information on the Princemen Senior.), C. J. Cornelius Bugles Across America. very early history of the drum corps activity, as (Freelancers), Tom Day (Norwood Park I want to give special thanks to Dave Scott did Jonathan Ritter’s paper written at UCLA Imperials, Anaheim Kingsmen, Cavaliers), Dr. (Millstadt Crusaders, Belleville Black Knights, titled, “The Summer Music Games: Drum and William De Journett (Spirit of Atlanta, Phantom Joaquin Caballeros) the “official collector” of Bugle Corps as Ritual.” Regiment) and other writers of show reports the original source recordings of drum corps Also very important to my work were the that have appeared in Drum Corps World. repertoires each year, who filled me in on some countless articles of Al Karls, Dr. Robert Smith, Also, Tom Doogan (Troopers), Frank early drum corps history, read this article for Gregg Strand and Dr. Mike Wetzel in Drum Dorritie (St. Catherine’s Queensmen, Garfield additions and corrections and has been of great Corps World, which often put the musical and staff, Sunrisers), Bill Driscoll, Jim Elvord help with this and other articles I have written, artistic evolution of drum corps into historical (Madison Scouts), Frank Etzel (Little Falls and to Jodeen Popp who, as the earliest perspective, along with my own articles about Cadets), Mike Flack (Precisionnaires), Aaron marching member on this list, knew much of the top-12 corps’ annual programs, titled “What Frost (Blue Stars), Dave Fowler (Cadets), Gabe this information first-hand and was valuable as to Listen for in Drum Corps this Summer,” Francoeur (Academie Musicale), Silviano “Sly” a proofreader. appearing in Drum Corps World summer issues Fulgencio (Madison Scouts), Dan Guernsey Thanks to all of these people and resources from 1984 through 1993. (Madison Junior Scouts, Madison Scouts), Brian for their willing help on this project. 186

madison scouts, Madison, WI (1972). santa clara vanguard, Santa Clara, CA (1982). argonne rebels, Great Bend, KS (1976). Photo by Jack Russalisi from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World.