Drum Corps International 2012 Yearbook

1977 Two-valved fiCwrshi8tncaI1nnlm98i0imnDp4.gb1isCo.eIs00fna’rcssos0ohomtri.nopes-s, DCI was born in horns become legal, turbulent times. As the first expanding the World Championship took musical repertoire. place in August of 1972, thousands of soldiers were August 1, 1981 The still in Vietnam. President MTV debuts on first space Richard Nixon was about to cable television in shuttle, be nominated for a second the United States, Columbia, term; it would end in scandal playing music videos and resignation. Americans 24 hours a day. 1981.launches in worried about inflation, The Pittsburgh rising crime, urban decay Steelers win four and the energy crisis. Super Bowls Yet hope blossomed too. between 1975-’80. Underdog doormats like SPACE SHUTTLE: NASA; STEELERS: SYLVIA ALLEN/GETTY IMAGES; 1981-’82 Montreal’s baseball’s Oakland A’s TV SET: THINKSTOCK/ISTOCKPHOTO Olympic Stadium hosts and the NFL’s Pittsburgh the only DCI World Steelers became Championships outside powerhouses. The 1980 of the U.S. U.S. hockey team pulled off an Olympic Miracle. Technological advances included the first mobile phones, video games, and personal computers. Cable TV transformed news, sports, and entertainment. Similarly new ideas revolutionized drum corps. “By 1975, seismic shifts were happening under our feet,” says DCI historian Michael Boo, then a marching member of the Cavaliers. ”At the time, many still considered timpani and mallet keyboards—which had to be carried—to be sacrilege. Asymmetrical drill? No way! Dancing? Blasphemy! But Santa Clara Vanguard inspired awe and anticipation well before we saw them in competition. Blue Devils brass changed our expectations of what drum corps could be. 27th Lancers showed that color guard could play more than a supporting role. I heard some say, ‘This isn’t drum corps.’ But from then on, I knew that drum corps is whatever it becomes; that’s been my mantra ever since.” 49

The Crazy Eighties 1982-1991 1982 THE FRONT 1982 TheTCP/IP data ENSEMBLE: Keyboards and protocol is standardized, paving the way for the non-marching percussion become a worldwide “web” of regular part of drum corps shows. fully interconnected 1982 becomes the last computer networks season to include the All-Girl class, but DCI will go back to that would become three divisions when the A-60 the Internet. class is born in 1985. 1982 1983 The series finale MICHAEL JORDAN: JOHN BIEVER/GETTY IMAGES; MASH: STEVEN WILLIAMSON for the television sitcom Michael M*A*S*H is watched Jackson releases by a record audience Thriller. It will win of 50.15 million people eight GRAMMYs on CBS. and remains the best-selling album 1984 Michael Jordan of all time. makes his Bulls debut. In ’91, he’ll lead Chicago to the first of his six NBA titles. The Cadets dominate DCI’s second decade, winning five World Championships between 1983 and 1990—and becoming the first World Class corps to “three-peat” in the process. >> 50 2012 DCI SOUVENIR YEARBOOK

THE SIMPSONS: FOX; BERLIN WALL: F. LEE CORKRAN 1987 The Simpsons After the angst- first appear on Fox’s filled 1970s, the ’80s seemed Tracey Ullman Show. relatively carefree and prosperous. Economic blahs 1986 Akai’s affordable S900 sampler helps push were followed by booms, music into the digital realm. and though the decade was far from peaceful, the 1989 Santa Clara 40-year Cold War between Vanguard’s title-winning the U.S. and Soviet Union ended without the direct score of 98.80 confrontation people had will stand as long feared. A bright young the record high basketball star named Michael for 13 years. (It Jordan seemed to single- is also the only year to handedly rescue sports from date that no DCI group the drug scandals and strikes competes using music that had dominated the early by Aaron Copland.) ’80s. And while not everyone thought such trends as “greed 1989 The Berlin Wall Falls is good,” the mullet hairstyle, unreconstructed jackets, Divided since 1945, Germany reunites and the Valley Girl dialect as the fall of communism heralds the were “totally awesome,” collapse of the Soviet Union and the the decade produced a lot end of the Cold War. of great music, film, art and literature—much of it fueled >>1991 Star of Indiana by technology. Samplers, completes a rapid rise to digital synthesizers, MIDI win a World Championship. sequencers, software, and The corps will stop hard disk recorders led to a competing after the revolution in recording and 1993 season to focus on production—and helped theatrical productions. nurture genres like hip-hop and electronica. Drum corps designers also explored new ideas, bringing forward original music and more adventurous movement. “George Zingali came along with his flex-drill designs for a newly surging Cadets, and all the old books on visual design had to be thrown out,” Boo recalls. “Music was becoming increasingly sophisticated and the activity started attracting more music majors. The emergence of the pit meant mallet players and timpanists no longer had to strap on and lug their instruments around the field. What happened to suffering for one’s craft?” 51

March GO GREEN! The Cavaliers of the win the World title for the first Century time in 1992— and grab three 1992-2001 more by 2001. << New Divisions: DCI’s Open Class becomes Division I, A-Class becomes Division II, and A-60 becomes Division III. 1994 Former political prisoner Nelson Mandela wins South Africa’s first free presidential elections. 1995 ROCKS SHARING IS CARING ROCK & ROLL HALL OF FAME: JASON PRATT The Rock & Roll Hall of Fame In 1996, Phantom Regiment and Museum earns its first title in a tie with opens in Cleveland and the Blue Devils, starting an the Beatles use archived unprecedented run of World and new material to Championship deadlocks release their first single that will include the ’99 in over 20 years, “Free Blue Devils and Santa Clara as a Bird.” Vanguard and the 2000 Cadets 52 2012 DCI SOUVENIR YEARBOOK and Cavaliers. DCI adds a tiebreaker to the scoring system in 2001.

‘90s DYNASTIES: The Yankees Maybe it’s because the take World titles in 1996, ’98, ’99, and 2000. The Cowboys word “ties” is built into (’92-’93, ’95), Broncos “nineties,” but DCI’s third (’97-’98), Bulls (’91- decade included its share of ’93; ’96-’98) and Red dead heats: Three seasons Wings (’97-’98) also ended with co-World win at least two Champions, while further championships changes to instrumentation in a row. brought the repertoire to greater levels of complexity. 1999 The Euro becomes most “Gone were marches at a of Europe’s official currency. straight 120 beats per minute and shows featuring a single 2000 B-FLAT OR set of flags,” Boo recalls. “Percussion sections kept B SQUARE? B-flat horns become getting larger and finally required additional equipment legal for the first time. Purists object, but trucks. As music became within a few seasons, the old G horns more complex, it seemed like eventually fade into history. hummable melodies were disappearing. Bluecoats were BILL CLINTON: BOB MCNEELY/THE WHITE HOUSE 1993-2001 2001 After winning five Division fighting that trend, as were a Bookended III World Championships between few other fan favorites.”There by Bushes: 1992 and ’99, Mandarins take the were three first-time Bill Clinton Division II title before moving up champions, including Star of takes to Division I in ’03. Indiana, which would soon office after create an award-winning defeating 2001 Apple releases the first iPod. stage show called Blast! Off George the field, pop culture turned Herbert from ’80s flash to ’90s grunge Walker Bush and “gangsta.” Retro became in 1992, then cool in everything from cars watches to clothes to ballpark design. Bush’s son But traditional ways of life beat Vice were disappearing in a President Al changing world. Broadband Gore to win Internet changed the way we the White did business, stayed in touch, House back made art, and entertained for his family ourselves. South Africa (and the replaced its apartheid system Republican and democracy bloomed in party). former dictatorships as Europe adopted a shared economic system. Sadly, the optimism spurred by such reform was tempered as fighting erupted in the former Yugoslavia, Africa, and the Middle East. The tragic events of September 11, 2001 brought the changing nature of world conflict home. 53

Changing 2002 American Idol debuts as a summer replacement wTiithmtehes show on Fox and starts a trend in music and dance 2002-2011 competitionTV. Since 2004, it has been America’s top-rated primetime show. << 2002 MAGIC SEASON: 2003 2005 Hurricane Katrina devastates The Division II Magic of U.S. forces New Orleans. Orlando go undefeated, invade Iraq. post a record score of They will YouTube launches in 2005 99.500, and become the remain and quickly becomes a first Div. II group to com- until 2011. favorite for drum corps fans. pete in the Div. I Finals. (The Cavaliers’ 99.150 IDOL: AARON M. SPRECHER / FOX; US TANK: TSGT JOHN L. HOUGHTON JR., USAF winning score sets a record that the Cadets will match in ’05.) 2003 RED, WHITE, AND CURSED NO MORE: The 2004 Boston Red Blackberry Sox win the club’s first World releases the 6210, the Series since 1918. A year first practical later, the Chicago smartphone White Sox will break for the a Championship masses. drought dating all the way back to 1917. 2006 The Academy wins a Division II title in its first World Championship appearance. 54 2012 DCI SOUVENIR YEARBOOK

September 2006 Facebook If there were a theme song opens for use by anyone over age 13 with a valid email address. for the years between 2002 and the present, it would be 2008 DCI’s Division I “Going Mobile.” Smartphones becomes the current and tablets have allowed World Class; Divisions II people to access information & III combine to form and entertainment (including the Open Class. streaming video of DCI events) anywhere. Social 2009 Colts and Cadets march at President Barack media played a role in the Obama’s inauguration in Washington, DC. historic election of Barack Obama and the Arab Spring, 2009 The DCI 2010 Chevrolet releases the Volt, a hybrid and will surely be a factor as Finals move to car offering a combined 60 miles per gallon. Americans go to the polls this their current fall. It’s also made it easier for home at Lucas 2010 The Blue Devils fans to follow their favorite Oil Stadium, the organization sweeps drum corps and connect with first indoor venue both the World and equally passionate brethren. to host the World Open classes for This new media has given Championships. the second year ordinary people new ways to DCI groups are in a row. talk about modern hardships allowed to include like war, natural disasters, INAUGURATION: MICHAEL MADRID/USA TODAY electronic travel difficulties, economic instruments crises, and high fuel costs. in the front But hard times always have ensemble a glimmer of hope mixed for the in. The Red Sox and White first time. Sox did break decades-long curses. The U.S. auto industry has rebounded. And a few groups long absent from DCI’s elite have emerged as regular Finalists. While today’s drum corps shows are more visually and musically complex than ever before, with instrumentation and movement few would have dared imagine in 1972, the link to the past remains unbroken in the commitment and spirit of the members (and staffs) to do the absolute best they can. “It seems that drum corps members get more awesome every year,” Boo concludes. “As a music major in the 1970s, I couldn’t dream of doing what today’s members routinely pull off. Where do we go from here? I don’t know, but I’m eagerly waiting to find out.” 55

DCI.org/audition DCI.org/parents Everything you (and your parents) want to know about becoming a part of a DCI drum corps is only a click away. Learn more today... and take the field next summer with Marching Music’s Major League™ Drum Corps International • 110 W. Washington Street, Suite C • Indianapolis, IN 46204 • (317) 275-1212

The Corps Drum Corps International’s World Class includes corps of up to 150 members. Open Class groups, which may follow a more abbreviated touring schedule compared to their World Class counterparts, consist of anywhere between 30 and 150 performers. In a new format established in 2011, both classes will compete head-to-head beginning with the World Championship Prelims in Indianapolis. 58 68 80 92 The Boston Crossmen Phantom Academy Crusaders Regiment 82 60 70 94 Glassmen Blue Devils The Cadets Pioneer 84 62 72 96 Jersey Surf Blue Knights Carolina Santa Clara Crown 86 Vanguard 64 74 Madison 98 Blue Stars Scouts Cascades Spirit of 66 88 Atlanta 76 Bluecoats Mandarins 100 The Cavaliers 90 Teal Sound 78 Pacific 102 Crest Colts Troopers 105 113 121 129 • Blue Devils C 7th • Blue Saints Regiment Genesis Raiders • City Sound • Gold 107 115 123 • Impulse Blue • Les Stentors Devils B Legends Revolution • Racine Scouts • Spirit of Newark/NJ 109 117 125 • Thunder • Velvet Knights Colt Cadets Music City Spartans 133 111 119 127 All-Age Forte Oregon Vanguard Crusaders Cadets 57

The Academy Tempe, AZ I arizonaacademy.org Left of Spring Rite of Spring by Igor Stravinsky The Song of Purple Summer (from Spring Awakening) by Duncan Sheik S eat 20M. That’s where Igor Stravinsky sat for the world premiere of his groundbreaking work The Rite of Spring, and witnessed one of the most famous audience reactions in the history: a riot! Nearly 100 years later, The Academy revisits the moment that set the world of music and dance on its ear, now adapted and transformed for the marching age. Following the ballet’s basic plot, pagan rituals and images have been re-imagined to create a modern urban tribe. We see it develop from birth and celebrate new life. The arrival of spring inspires a passionate ritual—which sparks a riot. Finally, the chosen one must be sacrificed. Stravinsky intended his masterpiece to be a celebration of rebirth, and the journey continues with the harmonious epilogue from the Broadway show Spring Awakening. Inspired by the ending that Stravinsky never wrote, the production concludes with “The Song of Purple Summer.” 58 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director Mark Richardson Business Manager Carol Balk Drum Majors Christopher Sambrano, Jocelyn Bailey, Kendall Stevenson Design Richard Hinshaw (program coordinator, drill writer), Michael Raiford (artistic director), Ryan George (music designer), Ike Jackson (percussion arranger), Bryan Nungaray (percussion arranger), Chris Velez (color guard designer), Preston Howard (brass choreographer), Matt Ray (visual caption head), T. André Feagin (brass caption head), Karl Lowe (consultant) Brass T. André Feagin (caption head), Stacy Clark, Corey Heddon, Michael Larkin, Benji McLain, Kevin Wood Percussion Ike Jackson (caption head), Brian Mason (consultant), Brian Crist, Nick Curci, Sean Frittelli, Sean Gordon, Andrew Guy, Brian Howerton, Jennifer Jackson, Nathan Medina, Bryan Nungaray, Ronnie Valles Color Guard Chris Velez (caption head), Rob Jett, Tom Mikan, Gabe Escobedo, Chris Cordova, Felicia Thorn Visual Matt Ray (caption head), Preston Howard, Casey Ehrler, Bill Fritz, Joshua Dawes, Ryan Johnson, Ryan Springler, Matthew Petterson, Brandon Wickham Other Staff James Elvord (organizational consultant), Scott Lang (leadership consultant) 59

Blue Devils Concord, CA I bluedevils.org Cabaret Voltaire Tristan Writes a Manifesto Harmonielehre by John Adams Morrison Mania by James Horner The Children’s Hour of Dream by Charles Mingus Symphonies: V by Andre Souris Marcel Paints a Moustache Bird & Bella in B Flat by Don Sebesky Hannah Makes a Collage Gymnopedies by Erik Satie Man Ray Makes a Metronome Ballet Mecanique by George Antheil Gertrude Writes a Play Peppy and George (from The Artist) by Ludovic Bource Dr. Bones by Steve Perry New Arrival by Danny Elfman Tevot by Thomas Ades Rhapsody in Blue by George Gershwin B orn in the heart of Europe during World War I, the Dada movement’s embrace of new artistic materi- als and methods created an abiding legacy for the century to come. Radical at the time, such strategies as collage, montage, assemblage, ready-mades, chance, performance, and media pranks are so foundational today that Dada may have had the greatest influence on contemporary art of any avant-garde movement. Dada emerged at a small café-turned-cabaret named in honor of the great Enlightenment satirist Voltaire. The search for Dada parallels in today’s world fuels Cabaret Voltaire through an exciting circle of musical and visual questions and answers. How do the concepts of collage and ready-made objects find their way into the musical soundscape? Where does the spoken word dance a manifesto of cinematic cycles? The Blue Devils will explore the answers through sight and sound. 60 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director David Gibbs Corps Manager Pete Emmons Assistant Managers Sheryl Miles, Brian Howard Drum Majors Matt Williams, Issac Lee, Marvin Reed Brass Wayne Downey (arranger), John M. Meehan, James Rocillo, Kevin Ronan, Shawn Murphy, Joe Haworth, Bill Watson, Steve Vento, Sean Snyder Percussion Scott Johnson (arranger), Dave Glyde (music coordinator, arranger), Jim Wunderlich (arranger), Ben Maughmer, Jack Mizutani, Rudy Garcia, Ricky Odello, Jared Andrews, Chris Slater, Sean Vega, Brian Dinkel Color Guard Scott Chandler (program coordinator, designer), T.J. Doucette, Robbie Jacobson, Corey Robinson Visual Jay Murphy (designer), Todd Ryan, Ken Karlin, Jaime Holly, John Bradford, Brian Peter, Jesse Minor, Kari White, Ben Henderson, Tim Darbonne, Ben Kane, Karl Lowe (consultant), Anthony Smith (consultant) 61

Blue knights Denver, CO I bknights.org Avian The Firebird by Igor Stravinsky T he Blue Knights present the corps’ decidedly mod- ern science-fiction interpretation of The Firebird, the legendary ballet by Igor Stravinsky, which pre- miered in Paris in 1910 and proved to be a breakthrough for the composer as well as choreographer Michel Fokine. Based on Russian folk tales, the dramatic work tells of a magical glowing bird that becomes both a blessing and a curse to its captor, Prince Ivan, as he moves through the magical realm of Kashchei the Immortal and encounters the strange and beautiful crea- tures that inhabit it. In this powerful program, Blue Knights depict the many sides of these exotic, other- worldly beings and their ultimate quest for community. 62 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director Mark Arnold Tour Coordinator Jaime Martinez Personnel Management Ken Adams Drum Majors Angelo Sapienza, Thomas Kober Design Marc Sylvester (program coordinator, visual design), Ralph Hardimon (music coordinator, percussion), Jay Bocook (brass), Tim Newburn (color guard), Tony Nunez (sound), Dan Wyn Darrah (percussion) Brass Brad Toth (caption head), Tony Ruiz, Ronnie Pruitt, Zak Ruffert, Emily Fetcho, Ashley Drayer, Amanda Brandt, Mike Wille, David Harmon, Tony Mencio, Travis Pruitt Percussion Daniel Wyn Darrah (caption head), Brian Stevens (assistant caption head), Ralph Hardimon, Matt Ramey, Rick Barclay, Glen Crosby, Daniel Allen, Sean Knuth, Al Cleveland, Alex Cardona, Joe Fant, Sam Santisteven Color Guard Tim Newburn (caption head), Krystle Breden (assistant caption head), Louis Hellinger (principal writer), William Martin, Tom Harrington, Chad Berkstresser, Juan Artavia, Theresa Fox, Kelly Simon, Leah Brown, Stephanie Chavez, Bucky Flores, Susan Wessel, David Arvin, April Gilligan-Martinez Visual Jason Bentley (caption head), Craig Sellers (assistant caption head), Min Park, Kelly Earp, Alex Cardona, Conrad Lund, DJ Powell (movement), Jake Blakely, Jose Lazaro, Marc Sylvester 63

Blue stars La Crosse, WI I bluestars.org The Blue World Fate Has Smiled Upon Us by Marc Streitenfeld The Explorers (from Symphony No. 1, A Sea Symphony) by Ralph Vaughan Williams Variations on Symphony No. 9, New World Symphony by Antonín Dvorˇák Original Compositions by Frank Sullivan, Tom Aungst, Neil Larrivee T he Blue World is the Blue Stars' exploration of the people, creatures, myths, and legends associated with the vast oceans of the world. The La Crosse, Wisconsin corps will create immersive aquatic vistas with a broad musical repertoire. Through- out the production original music written specifically for the show is combined with elements from film composer Marc Streitenfeld’s Robin Hood soundtrack, Ralph Vaughan Williams’ A Sea Symphony, and compos- er Antonín Dvorˇák’s landmark late Romantic-era New World Symphony. The action takes place in six sections: Part 1: From the Net; Part 2: Anchors Away; Part 3: Beneath the Waves; Part 4: The Predator; Part 5: Siren Song/ Shipwreck; and Part 6: Treasure Hunt, taking the audience on a rousing nautical adventure and undersea journey. 64 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director Brad Furlano Corps Director Russ Gavin Director of Operations Brad Harris Business Manager Steve Stueck Tour Manager Blake Reynolds Logistics Manager Mike Halron Design and Brand Manager Ryan Musselman Consultant Howard Weinstein Drum Majors Mark Donahue, Zack Crissman Design Michael Shapiro (color guard design, choreography), Frank Sullivan (brass composer, arranger), Tom Aungst (percussion composer, arranger), Neil Larrivee (front ensemble arranger), Myron Rosander (drill design), Fred Feeney (consultant) Brass Ryan Mohney (caption head), Adam Jatho, Aaron Renzenbrink, Brian Fischer, Mat Becker, James Wilson, Kai Rudnick, Aaron Goldberg, Scott Carr, Frank Sullivan (consultant), Tom Santino (consultant), Mo Barkley (consultant), Cory Meals (consultant), Andy Tye (consultant) Percussion Tom Aungst (caption head), Neil Larrivee (front ensemble coordinator), Tim Greene (battery coordinator), Justin Lewis, Chris Lawlor, Joel Gardner, Randall Moore, Jason Medeiros, Justin Coughlin Color Guard Michael Shapiro (caption head), Krystal Shephard, Brittany Shephard, Anthony Garcia, Homer Lopez, Megan Pokoj, Sergio Marquez Visual Ralph Stewart (caption head), Jordan Lalama, Will Wells, Erik Burch, Chris Kaflik, Jeff Paradis, Danielle Amick, Derek Ellinger, Roger Marquis, Trevor Cox, Jeff Blume, Tom Slaughter, Kelly Earp, Matt Carfangna, Dave Catogni, Jon Zollo 65

bluecoats Canton, OH I bluecoats.com UnMasqued Masquerade (from Phantom of the Opera) by Andrew Lloyd Webber Filet (from La Reve) by Benoit Jutras Flume by Bon Iver Ritual by Tom Rarick, Doug Thrower Love Dance (from Ka) by Rene Dupere Blue Cathedral by Jennifer Higdon Epiphanies (Fanfare and Chorales) by Ron Nelson U nMasqued looks behind the “masques” that con- ceal our fears, insecurities, desires and dreams. “Masquerade” and “Filet” work together to con- trast an elegant era of lavish galas with the underground culture of a Rave—a modern-day masquerade driven by pulsating techno music. The stark and introspective melody of “Flume” starts us on a journey toward self revelation. “Ritual” delves into the darker side of one’s journey of self-discovery and illustrates the immense pressure that society places on all of us to conform. “Love Dance” underscores the color guard’s movement to demonstrate the notion that love is the only path toward uncovering who we really are. Finally, “Blue Cathedral” and “Epiphanies” dramatize the power and confidence that can only be found in true love, which gives us the courage to finally discard our masks, strip away our insecurities, and ultimately be our true selves. 66 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director David Glasgow Operations Director Genevieve Geisler Corps Manager Bill Hamilton Assistant Corps Manager Scott Hackett Staff Facilitator Joe Beitman Food Service, Transportation Manager John Lowe Food Service Manager Emma Crook Drum Majors David Schaefer, Haley Burks Design Michael Gray (program coordinator), Dean Westman (music coordinator), Daniel Wiles (visual coordinator, designer), Andy Mroczek (color guard caption head, designer), Tom Rarick (percussion arranger), Doug Thrower (brass arranger), Kevin Shah (electronics designer), Mitch Rogers (visual consultant) Brass Dave MacKinnon (brass supervisor), Emery Craig (brass co-caption head), Derek Gipson (brass co-caption head), Matthew Stratton, Brent Schooley, Chris Allen, Austin Clements, Amy Armbruster, Ryan Spencer Percussion Mike Jackson (percussion caption head), Brad Palmer (front ensemble coordinator), Roger Carter, Eric Shriver, Fernando Miller, Jeremy Somers, Amador Padilla, Ryan Lamb, Jared Thomas, Ryan Kilgore, Craig Loeffler, Matt Hahn Color Guard Andy Mroczek (caption head), Michael Rosales (choreographer), Juan Carlos Caceres (choreographer), Jennifer Permer, Kathy Pearson, Jonathan Meader, Leigh Hadjis, Craig Walton, Doug Hooker, Laura Gasper, Caterina Tangi Visual Tim Jackson (caption head), Micah Abrams, Kevin Stahl, Chris Cyr, Lee Falvey, Justin Johnson, Jonathan Morgan, Eric Humbert Story, Andrew Carr 67

Boston Crusaders Boston, MA I crusaders.com The Titans Enter the Titans Pines of Rome by Ottorino Respighi Celebration Pines of Rome by Ottorino Respighi Ritual Roman Festivals by Ottorino Respighi Symphony No. 10 by Dmitri Shostakovich Evey Reborn by Dario Marianelli Titanomachy War Dance by Ottorino Respighi Return to the Hall of the Gods Symphony No. 1 by Gustav Mahler I nspired by the Crusaders' corps song “Giant,” this year’s production embraces the mythological charac- ter of the Titan. The action takes place in five parts. The music of Ottorino Respighi's Pines of Rome serves as the backdrop as the Titans come down from heaven to play on earth in Enter the Titans, and continues through the show's second act, Celebration. Parts of the Italian composer's Roman Festivals— along with music from Shostakovich and film composer Dario Marianelli—underscore the third act, Ritual. Respighi's War Dance (from Belkis, Queen of Sheba) provides the backdrop as a power struggle ensues in Part 4, Titanomachy, and a new leader emerges. Finally, Mahler's dramatic Symphony No. 1 sets the scene as the mythical giants return back to the heavens whence they came. 68 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director Tom Spataro Assistant Director Justin Heimbecker Tour Directors Ashley Trudell, Lainey Drummond Tour Managers Jose Eslava, Jon Haney, Tyler Lesperance, Chance Livar, Mario Mistretta, Rene Robles, Kyle Thompson Head Chef Don Morris Drum Major Thompson Vou Assistant Drum Majors Will Bishop, Stephen Grindel Design Brian Murphy (program coordinator, visual design), Bruno Zuccala (program consultant), Anthony Smith (program consultant), Ryan George (brass composer/ arranger), Ellis Hampton (percussion composer/arranger), Matt Winans (color guard design), Chad Pence (brass design), Darryl Pemberton (visual design), Lloyd Puckitt (sound design), Gene Monterastelli (consultant) Brass Chad Pence (caption head), Bekah Broe, Anthony Cruddas, Joey Glaeser, Chris Grifa, Paula Hyman, Dennis Laorenza, Tim Leonelli, Tim Nemzin, Frank Williams Percussion Ellis Hampton (caption head), Jonathan Anderson, Ben Christensen, Chauncey Holder, EZ Lanser, Jonathan Leal, Nikki Lee, Christopher Lennox Color Guard Matt Winans (caption head), Kimberly Bolduc, Jade Bouza, Beth Calhoun, Jason Ciesla, Sarah Cole, Brittany McMillan, Jorge Portal, Lopez Reese, Anthony Scudero Visual Darryl Pemberton (caption head), Miguel Adorno, Sean Buchsbaum, Eddy Falcon, Scott McAnally, Eduardo Mora, Jason Nunes, Tony Rideout, Adriel Rodriguez, Matthew Rusnak, Sandy Sanchez 69

The Cadets Allentown, PA I yea.org/cadets 12.25 Carol of the Bells by Mikhail Leontovych Jingle Bells by James Pierpoint Do You Hear What I Hear? by Noel Regney, Gloria Shayne Hark! The Herald Angels Sing by Felix Mendelssohn D rawing on both secular and religious holiday music, 12.25 (say the “dot” aloud) contrasts con- sumer Christmas excess with the holiday’s true spiritual meaning. Wearing white to honor the season, the Cadets begin with DCI Hall of Famer Jay Bocook’s eclectic and fast-paced arrangement of “Carol of the Bells.” Next, a multi-styled interpretation of “Jingle Bells”—which includes a full swing section and strains of “The Dreidel Song”—gets us into the holiday spirit. Midnight mass is the setting for “Do You Hear What I Hear,” which changes the mood dramatically. “Hark the Herald Angels Sing” gives the corps the opportunity to celebrate in grandiose fashion as mass comes to a close. In true Cadets fashion, the corps heralds the New Year by unleashing a medley of music and movement at breakneck speed—combining tradition, innovation, and the physically impossible—for a grand finale. 70 2012 DCI SOUVENIR YEARBOOK

Staff Corps Director George Hopkins Assistant Director Patrick Duncan Brass Jay Bocook (arranger), Gino Cipriani (caption supervisor), Sean Furilla, Steve Bentley, Jarrett Lipman, Justis MacKenzie, Travis Moddison, Craig Walker, Ben Pouncey Percussion Colin McNutt (arranger, caption supervisor), Iain Moyer, Ian Grom, Chris Vale, Jake Gall, Brian Perez, Nick Werth, Andrew MacLeay, Chris Watson, Johnny Trujillo, Jason Ihnat, Mike Zellers, Jules Scogna, Jim Ancona, Gerry Miller Color Guard Daniel Riley (caption supervisor), Bruno Zuccala, Greg Lagola, Curtis Uhlemann, Katie Hopkins, Eric Babula, Alex Perez, Ronnie Bynum, Morgan Brockman, Sam Watson, April Martinez, Emma Roberts Visual Jeff Sacktig (designer), Jarrod Huntley (caption supervisor), Jonathan Michels, Jason DeGroff, James Gow, Austin Greene, Jared Morgan, Rob Stein, Joe Roche Administrative Team George Hopkins, Patrick Duncan, Corey Moore, Allison Watkins, Melissa Barlow, Nic Broussard, Jay Travis (transportation manager) 71

Carolina Crown Fort Mill, SC I carolinacrown.org For the Common Good Third Symphony (Fanfare for the Common Man) by Aaron Copland Dreams by Bertrand Moren S omewhere between fantasy and reality lies the pos- sibility to achieve goals that may—initially—appear to be unattainable. Whether through discovery of natural ability or by making extreme sacrifices, human beings are individually and collectively capable of super- human achievements. With a program based on classic American composer Aaron Copland’s Fanfare for the Common Man—coupled with the more contemporary work, Dreams, by Bertrand Moren—Carolina Crown’s 2012 show sets out to explore the hero that lies within all of us, whether as individuals or communities, looking to reach beyond what some would call the impossible, yet striving to achieve all things For the Common Good. 72 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director Jim Coates President/Director Kevin Smith Director of Business Development Eric Sabach Office Manager Moe Smith Administration Keith Suttles Tour Managers Nancy Barth, Wesley Payne Trainer Cora Ray Tour Administration Brian Creswell, Eric Gaston Merchandise Sashera Pinto, Kierra Lang Drum Majors Mike Roche, Linda Harvey, Larkin Sharpe Design Jim Coates (staff coordinator), Michael Klesch (music director, arranger), Keith Potter (program concept, visual coordinator), Leon May (visual designer), Thom Hannum (percussion coordinator, arranger), Andrew Markworth (front ensemble arranger), Michael Townsend (color guard designer) Brass Matt Harloff (caption supervisor), Michael Klesch (arranger), Ray Linkous (assistant caption supervisor), Ben Harloff (technique specialist), Chad Brinkman, Steve Mason, Corey Alvaro-Futrell, Larry Shane, Marshal Woody, Joe Padawan, Ryan Summers, Bob Chreste, Barry Hudson (consultant), Dustin Bays, Evan Woods (intern), Donnie VanDoren (consultant) Percussion Zach Schlicher (caption supervisor), Thom Hannum (percussion coordinator, arranger), Andrew Markworth (front ensemble arranger, supervisor), Ian Hale (front ensemble assistant supervisor), Steve Ballard, Mike Bishop, Garret Scharton, Josh Brickey, Dean Hickman, Eric Kraft, Alex King Color Guard Matthew Follo (caption supervisor), Rosie Queen (caption coordinator), Michael Townsend (designer, choreographer), Jennifer House Hinshaw (choreographer), Angela Brickhouse (choreographer), Jim Moore (choreographer), Michael Floyd, Darren Mickens, Herbert Washington, Meghan Brackett Visual Ron Hardin (caption supervisor), Leon May (designer), Keith Potter (coordinator), Brian Soules, Brian Kraft, Chris Considine, Aaron Bailey, Tim Handley, Eric Considine, Michael Huebner, Gino Hernandez, Julian Jones 73

Cascades Seattle, WA I cascadesdrumcorps.org CORPS NAME Font: Oxida Regular / DRUM CORPS and tagline Font: Maximus Medium Shinto Kingfishers Catch Fire by John Mackey Panda Po by Hans Zimmer Shogun by Lewis Norfleet In Shinto—Japan’s most traditional religion— millions of deities oversee all aspects of earthly life. Cascades will explore this complex and rich belief system through the auspices of four of its most prominent gods. The show starts with John Mackey’s “Kingfishers Catch Fire” underscoring the appearance of Amaterasu, the main Shinto god of sun and life. In Part 2, we meet god of beauty Kishijoten as an iconic Japanese cherry blossom unfolds to the music of Hans Zimmer and John Powell. Then there’s Hotei, the god of good luck and humor, whose jovial nature is brought to life through multiple handheld Japanese props. Soon, however, the mood turns more serious as we meet Iki-Ryo, the god of anger and conflict. Japanese Taiko percussion motifs drive the show to a climax full of combative aggression. The action accelerates to an urgent dance before a sudden and powerful ending. 74 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director Doug Hebenthal Drum Major Caitlin Heber Design Lewis Norfleet (show concept, brass arranger), Chris Whyte (percussion arranger), Nick Benson (drill designer), Kurt Jull (visual consultant), Ben Adams (choreography) Brass Steve Menefee (co-caption head), Zach Smith (co-caption head), Jeremy Permen, Nick Calza, Chris Thomas Percussion Vern Johnson (caption head), Sean Schwartz, Ricky Martinez, Craig Winters, Terri Haley, Patrick Beare Color Guard Ben Adams, Brett Harbur, Ricardo Alexander Visual Michael Kirkbride, Jeremy Bennett, Katie Holly, Joey Riordan 75

The Cavaliers Rosemont, IL I cavaliers.org 15 Minutes of Fame Don Juan by Richard Strauss Dead Elvis by Michael Daugherty Paparazzi by Stefani Germanotta, Rob Fusari Don Giovanni by Wolfgang Amadeus Mozart Vesti la Giubba by Ruggero Leoncavallo Out Here On My Own by Michael Gore In the Hall of the Mountain King by Edvard Grieg I t’s been more than 40 years since pop artist Andy Warhol made one of the 20th century’s most famous predictions: “In the future, everybody will be world famous for fifteen minutes.” Warhol’s prophesy rings even truer in this age of YouTube, blogs, and social media. In 15 Minutes of Fame, The Cavaliers transfer this pop-art ethos to the drum corps field. Although it draws from Warhol’s iconic style, the corps’ cutting-edge production isn’t lost in that genre’s 1960s golden age. Instead, using music alternating between such timeless classics as Mozart’s Don Giovanni and modern pop-culture touchstones like Lady Gaga’s “Paparazzi,” the Green Machine juxtaposes two seemingly contrasting ideas—the operatic divo and the 21st-century celebrity—in a thought-provoking look at the way we view—and earn—fame. 76 2012 DCI SOUVENIR YEARBOOK

Staff President & Corps Director Adolph DeGrauwe Drum Major Andrew Rhebergen Design Scott Koter (program coordinator), Tommy Allen, Richard Hinshaw, Michael McIntosh, Alan Miller, Michael Raiford, Dr. Drew Shanefield, Andrew Toth, Bart Woodley Brass Scott-Lee Atchison (caption head), Stuart Shulman (assistant caption head), Dr. Thomas Bough, Stephen Gulledge, Branden Hill, Fuller Lyon, Joe Musick, Scott Norman, Ed Roush, Taylor Smith, Aaron Vogel, Jordan Yi Percussion Dr. Brian Tinkel (caption head), Nick Beaudet, Thomas Claesen, Adam Clay, Alex Entin, Jami’ Fennell, Bobby Hoyt, Tim Maynard, Drake Melson, Jason Palmer, Rob Pastor, Eric Ridenour, Joe Roach, Chris Sakowski, Chad Schaedler Color Guard Sheldon Apo (caption head), Tommy Allen, Blake Dutton, Brady Sanders, Jimmy Schlenkert, Travis Speice, Andrew Toth, Robin Wells, Bart Woodley Visual Steven Estudillo (caption head), Nick Beaudet, Aaron Brizuela, Alan Chrzanowski, James Harmon, Brett Orr, Kristopher Quaale, Jeremy Seneca, Jordan Thomas, Taylor Townsend, Jordan Warfield, Paul Wiercioch Tour & Administrative Team Mark Ackerson (tour director), Pam Cabanski, Rosanne Duewerth, Diane King, Rick Lunn, Francine Micklus, Jennifer Parent, Joe Paul, Matthew Rummell 77

Colts Dubuque, IA I colts.org Boundaries August’s Rhapsody (from August Rush) by Mark Mancina Boundaries by David Nelson Piano Concerto No. 2, Mvt. 2 by Sergei Rachmaninoff All By Myself by Eric Carmen B oundaries can limit. They can also protect. Boundaries can divide opposing forces, or provide a framework within which games are played. Boundaries define what one does or does not do, what is acceptable or unacceptable. They also define who is in—and who is out. Boundaries protect us from ene- mies, but also fence us in. Breaking boundaries is a way to confront the estab- lishment while allowing us to pursue magnificent artistic endeavors. By breaking through, we can reach the unat- tainable and achieve the unimaginable. Using a stirring and diverse range of musical motifs—where else will you hear Rachmaninoff in the same set as Eric Carmen’s 1970s classic “All By Myself?”—Colts will explore both sides of our physical and emotional boundaries. 78 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director Greg Orwoll Drum Majors Casey Hallahan, Kara Metzger Design Chris Tomsa (program coordinator, brass arranger), Tim Gray (visual coordinator, drill designer), David Nelson (percussion arranger, composer), Jerry Carpenter (front ensemble arranger), Carla Burgess-Tomsa (color guard coordinator), Brandon Smith (color guard designer), Christopher Dulin (choreographer), Tyler Teran (choreographer) Brass Bobby Frey (caption head), Alex Blue (assistant caption head), Chris Stanley, Laura Polling, Andrew Eaton, Ronald Scipio, Daniel Algazy, Christopher Corrie, Phil Snyder, Freddy Martin (consultant) Percussion David Nelson (caption head), Jerry Carpenter (front ensemble arranger), Jon Merritt (consultant), Lee Hansen (consultant), Joe Asleson, Nathan Wright, Henry Williams, Katharine Lambaria, Craig Myers, Thien Quoc Pham-Tran Color Guard Brandon Smith (caption head), Carla Burgess-Tomsa (caption supervisor), Christopher Dulin, Tyler Teran, Michael Harris, Christopher Sparks, Joseph Kidd, Steven Irvine, Monica Rohrabaugh Visual Mathew Tomsa (caption head), Jonathan Cordell (caption supervisor), , Peter Inglett, Matt Preloger, Drew Gregorczyk, Jeffrey Thompson, Chris Johnston, Anthony Arnold, Leanna Rummes, Lizzie McIntyre, Chris Barbaro, Greg Brown Administrative Staff Bill Symoniak (volunteer coordinator), Crys Smith (food program coordinator), Jeanne and John Scott (flag production), Jill Halco (uniforms), Dave King (vehicle manager), Bruce Hallahan (board president), Mike Wolfe (booster president), Vicki Schaffer (youth programs director), Mike Freeland (tour director), Ashley Wright (tour manager), Jeff MacFarlane (controller, designer), Matt Mulvanny (video/audio technician) 79

Crossmen San Antonio, TX I crossmen.org Fragile Earth Song by Michael Jackson Wailers by Bobby McFerrin PD7 by Anoushka Shankar Here Comes the Flood by Peter Gabriel Finding and Believing by Pat Metheny C rossmen’s 2012 show Fragile explores the ecologi- cal issues that threaten our planet on a daily basis. But instead of presenting a lament on how pollu- tion of land, sea, and air may have caused irreparable harm, the show holds up hope for a rejuvenated Mother Earth. With music arranged by Chuck Naffier, Lee Beddis, and Andrew Markworth, Crossmen will use the work of artists like Michael Jackson (“Earth Song”), Bobby McFerrin (“Wailers”), Anoushka Shankar (“PD7”), Peter Gabriel (“Here Comes the Flood”), and Pat Metheny (“Finding and Believing”) to dramatize the frag- ile yet interdependent relationship between man and the planet we call home. In addition to entertaining, the corps hopes to inspire audience members to think about their own role in the planet’s renewal, encouraging all of us to make a positive impact on the planet through the choices we make each day. 80 2012 DCI SOUVENIR YEARBOOK

Staff Executive/Corps Director Fred Morrison Assistant Corps Director Joe Banegas Director of Corps Operations Maureen Morrison Corps Operations Manager/ Volunteer Coordinator Audrey Driscoll Tour Director Rico Gomez Tour Assistants Evan Fletcher, Samantha Bedore Merchandise Corey Joachim (manager), Chris Maciel (assistant manager), Tim Kurtz (assistant manager) Lead Videographer/New Media Zach Ashcraft Graphic Design & Marketing Michele Williams Food Manager Linda Pennington Transportation Mike Lennox (lead driver), Daniel Pennington, Neil Herzog Alumni President Rick Reedy Drum Majors Aaron Sanderson, Hunter Bown Design Ed Devlin (program coordinator, visual coordinator, visual design), Chuck Naffier (brass arranger), Lee Beddis (battery percussion arranger), Andrew Markworth (front ensemble percussion arranger), John Leonard (color guard design), Al Chez (design consultant) Brass Jason Buckingham (caption head), Al Chez (consultant), Rance Costa, Drew Dickey, Chad Huel, Stephen “Doc” Jones, Ryan Johnstone, Mike Loffredo, Matt Willis Percussion Clark Garner (caption head), Scott Clark, Ryan Jezierski, Jared Kortz, Melissa McGoldrick, Rachel Adams, Collin Pagel, Buck Palmer, Matthew Power, Nathan Ratliff, Jules Scogna, Michael Spooner, Joe Villegas Color Guard John Leonard (caption head), Andrew Acheson, Andria Foerch, Jolie Henricks, Andy Hudson, Jacob Kalemba, Jay Kietzman Visual Paul Nye (caption head), Tom Strachan (consultant), Travis Burlingame, Tanner Cornell, Brad Donoris, Felix Hernandez, Jeff Jacobson, James Lazaro, Tommy Williams 81

Glassmen Toledo, OH I glassmen.org Glassworks Movement 1: Sand Mishima by Philip Glass Movement 2: Clear Glass Original Composition by Key Poulan, Rob Ferguson Movement 3: Shattered Glass Original Composition by Rob Ferguson Movement 4: Mirrored Glass Ethiopia III (from Beyond Borders) by James Horner Movement 5: Stained Glass Symphony No. 3 in C minor, Op. 78 by Camille Saint-Saëns I nspired by Glassmen’s hometown of Toledo—also known as Glass City—GlassWorks explores one of mankind’s most wondrous creations. The five-move- ment production starts with an assist from the music of Philip Glass, where we see how heat and pressure transform grains of Sand into a single material that’s both hard and fragile. The second movement uses origi- nal music by Key Poulan and Rob Ferguson to under- score a fast and furious production that lets us see inside and through Clear Glass, which will be Shattered by an original percussion piece in Movement 3. James Horner’s work influences the music in Movement 4 as we reflect on Mirrored Glass. Finally, Camille Saint- Saëns’ “Organ Symphony,” helps bring the program to a glorious and spectacular finale, where we see pieces of many colors and shapes come together to create a sin- gle entity of illuminating beauty, Stained Glass. 82 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director Brian Hickman Office Manager Janet Ankenbrandt Staff Coordinator Roman Montoya Tour Manager Stephanie Beebe Assistant Tour Managers Chris Martin, Mike McGreevy Drum Majors Wyatt Mullins, Adam Schrock Design Sal Salas (program coordinator), Key Poulan (music arranger, composer), Rob Ferguson (music arranger, composer), Pat Miller (visual designer), Hobie Pileski (visual designer), Lionell Moore (color guard designer), Mykail Costner (color guard designer), Mark Metzger (color guard designer) Brass Jason Rinehart (caption head), Jeremy Hackworth, Beth Fabrizio, Mickey Stisher, Tom Ruby, Andrew Lee, Jason Kulak, Gabriel Velasco, Frank Williams, Jonathan Yoo Percussion Rob Ferguson (percussion coordinator), Casey O’Neal, Ryan Pride, Thomas Sparling, Ryan Galasso, Jason Heaton, Cory Doran, Donnie Ross, Eric Carraway, Ryan Reed, Dan Eakin Color Guard Kristy Templin (caption head), Jessica Francis, Tyler Smith, Scott Markham, Charles Williams, Gizzel Cruz, Abby Riddel, Michael O’Neil Visual Todd Clevenger, John Popham, Jonas Mitchell, Eric Donaldson, Adam Chitta, Stephen Chitta, Justin Presley, Ismael Ledezma, Tico Parsons 83

Jersey Surf Camden County, NJ I jerseysurf.org Bridgemania: Celebrating the Legacy and Spirit of The Bridgemen In the Stone Fanfare by Earth, Wind & Fire Land of Make Believe by Chuck Mangione Tell William by Gioachino Rossini Pure Imagination by Leslie Bricusse, Anthony Newley Party Rock Anthem by Stefan Gordy W hen it comes to stirring fans’ emotions, few corps in DCI’s 40-year history can rival the Bayonne Bridgemen. Bridgemania pays homage to a group whose groundbreaking thematic approaches, innovative arrangements, masterful storytelling, and remarkable technical ability helped to redefine the drum corps art form. Using a mix of classic Bridgemen-era pieces and contemporary selections, Jersey Surf will stir up nostal- gic emotions while “Sharing the Love” and projecting its own personality of youthfulness, enthusiasm, optimism, and exuberance. Poet Maya Angelou once said, “I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” The goal of Bridgemania is simple: to make you feel good. 84 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director Bob Jacobs Drum Majors Jon Lacy, Ben Godwin Color Guard Captain Kimberly Kinden Design Dennis DeLucia (design team chair), Larry Kerchner (brass arranger), Matt Savage (percussion arranger), Amy Savage (front ensemble arranger), Bobby Jones (drill design), Todd Marcocci (visual design), Matt Hurley (color guard design), Mike Mercadante (visual and metaphysical design), George Lavelle (Bridgemen liaison), Bob Jacobs Brass Tim “Shorty” Bartholomew (caption head), Steve Wands, Christine Bartholomew, Harrison Horowitz, Mitchell Reed, Joshua Muñoz, Pedro Paz Percussion Mike Caruso (caption head), Geoff Summers, Eric Smith, Alana Iannucci, Rich Klimowicz, Sara Haase, John Dunlap, Bob Grassie Color Guard Matthew Hurley (caption head), Kelly Laessig, Cynthia Wong, Danielle Dilks, Chris Cromwell, Katie Gallagher, Stephanie Broadbelt, Stacy Andrews, Joe Heininger Visual Christopher Gow (caption head), Russell Zavalla, Kevin Morrison, Andrew Hayward, Stephanie Dutcher, Eric Ebert Administrative Team Lois and Marty Fricke, Terri and Bill Ives, Bonnie and Barry Surkin, Naomi and Tom Piatek, Sue and Rich Caschera, Susan Palmer, Geoff Thompson, Brian Prato, Telly Ousouljoglou, Stephanie Dutcher, Susan Cain, Kerry Joy, Katie Brown, Patti Shores 85

Madison Scouts Madison, WI I madisonscouts.org Reframed Pictures at an Exhibition by Modest Mussorgsky Malaga by Bill Holman The Way We Were by Marvin Hamlisch Theme from Ice Castles by Marvin Hamlisch Malagueña by Ernesto Lecuona W ay back in 1961, the Madison Scouts were the first corps to play music from Pictures at an Exhibition, up until then known as a showcase for piano virtuosos. In the corps’ 2012 field show, Reframed, the Scouts will again use the work of Russian composer Modest Mussorgsky as the foundation of a powerful and moving production. This time, however, the corps will “reframe” the origi- nal work by integrating Mussorgsky’s composition with well known motifs taken from some of the greatest musical moments in Madison Scouts history. With a rep- ertoire that draws from pieces by Marvin Hamlisch (including the especially poignant “The Way We Were”), Bill Hollman, and Ernesto Lecuona, the production’s fina- le will showcase “The Great Gate of Kiev,” a grand mas- terpiece re-imagined in the corps’ distinctive style. 86 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director Chris Komnick Corps Director Dann Petersen Drum Majors Sean Phelan, Sean Hadley, Denzel Brown Design James Mason (artistic director), Donnie VanDoren (staff coordinator), Robert W. Smith (brass arranger), Lee Beddis (battery percussion arranger), Nick Pourcho (front ensemble percussion arranger), Jeff Lee (electronics arranger), Jim Moore (choreographer), Jon Vanderkolff (vsual designer), Andy Ebert (associate visual designer), Chad Duggan (design consultant) Brass Donnie VanDoren (caption supervisor), Brad Green (caption head), Tim Snyder, Jason Robb, Scott Steward, Amy Frost, Evan VanDoren, Alex Brough, Scott Oliver, Michael Post, Carlos Solis, Dr. Nick Williams (consultant) Percussion Lee Beddis (caption supervisor), James Sparling (battery caption head), Frank Chapple, Jeff Brooks, Ryan Anderson, Mike Dow, Jason Keller, Oliver Rodriguez, Amanda Petersen, Nick Usadel, Tim Heasley (sound engineer) Color Guard Adam Sage (caption head), Adam Dalton, Stephanie Boisjolie, Alex Cruz, Kelsey Gleason, Susan Hanggi, Ian Lewis, Missy Trulock, Noah Trulock, Tykeem Rainey Visual Andy Ebert (caption head), Neil Adkison, Ben Firkus, Chris Anderson, Blake Daughtrey, Taylor Harrell, Martin Montoya, Sean Moran, Aundre Mathis, Nick Monzi, Bob Medworth (consultant), Pat Butler (consultant), Mark Palise (consultant) 87

Mandarins Sacramento, CA I mandarins.org Prophecy Movement 1 Ancient Prophecy Movement 2 The Guardian Movement 3 Sacrifice Movement 4 Doomsday/New Dawn Original compositions by Key Poulan M andarins’ journey of Prophecy begins over 5,000 years ago with the ancient Mayan culture. The Mayans predicted a doomsday, but they’re not alone: Virtually every civilization and/or religion has some reference to the end of the world. The first movement, Ancient Prophecy, explores early ancient life and a ritualistic approach to predicting the impending end. The Guardian examines the idea of pro- tection, from the natural instinct of a mother protecting her child to the more global idea of protecting the earth. Part three, Sacrifice, investigates other primal rituals and foreshadows the prophecy of doomsday—including literal and figurative sacrifices. The show concludes with Doomsday/New Dawn, which takes the listener though a journey of death and destruction. The New Dawn acts as a genesis, rising out of the ashes of the world we once knew. 88 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director Ray Mar Corps Director Jim Tabuchi Drum Majors Corey Jones, Rebekah Ellis Design Key Poulan (design coordinator, brass arranger), Tony Nunez (music coordinator, percussion arranger), Geoff Longo (visual design, color guard), Drew Farmer (visual coordinator, drill designer), Dan Fong (program facilitator) Brass Dan Fong (caption manager), Santiago Sabado, Mark Trulson, Dennis Aquilina, Taylor Haugland, Chris Langton, Gary Ortega, Milt Gee, Tim Wilson, Stewart Rosen Percussion Tom Linder (co-caption manager), Paul Curci (co-caption manager), Manny Deleon, Blair Williams, Colby Beers, Nathan Ward, Melannie Stakely, Josh Leudtke, Greyson Boydstun, Michael Flores, David von Behren, Arturo Nunez, Robert Bowen, Les Wong Color Guard Geoff Longo (caption manager), Dale Robison, Allexis Holland, Miquel Duarte, Jackie Wong Visual Ron Munekawa (caption manager), Chris Baudino, Moises Fagundes, Abraham Garcia, Chris Huebschle, Mike McGee, Sean Smit, Chris DaPrato (conditioning coach) 89

Pacific Crest Diamond Bar, CA I pacific-crest.org The Spectrum I. Butterfly Yellow by Lewis J. Buckley Tarantella Red by Lewis J. Buckley II. Yellow by Guy Berryman, Jonathan Buckland, William Champion, Christopher Martin III. Blue Sapphire by Roger Cichy IV. End Credits (from The Green Lantern - First Flight) by Robert J. Kral True Colors by Billy Steinberg, Tom Kelly E very individual’s unique personality is made up of many shades. In The Spectrum, Pacific Crest uses music and color to paint a picture of our complete personalities. What color is quirky? What color is som- ber? What color is whimsical? What color is serious, angry, hopeful, jealous, compassionate? The show begins with two pieces by Lewis J. Buckley, looking at yellow and red. In part two, the Coldplay classic “Yellow” takes us to the heart of The Spectrum before giving way to Roger Cichy’s “Blue Sapphire” in part three. Music from The Green Lantern carries us toward the show’s climax in part four. As musical colors are explored, the music of Billy Steinberg and Tom Kelly will take the audience members on a tour through their own traits, creating a portrait of one’s true self—one’s “True Colors.” 90 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director Stuart Pompel Manager of Drum Corps Operations David Pham Drum Majors Tim Yao, Aaron Montalvo Design Mark Gunderson (program coordinator, music ensemble director), Jeff Lee (music director, front ensemble arranger), Ralph Pace (visual coordinator), John Meehan (brass arranger), Pete Sapadin (percussion arranger), Steven Estudillo (drill designer), Angela Tousley (color guard) Brass Brad Davis (caption head), Eugene Fabiero, Eric Fiero, Eric Hemingway, Seth Murphy, Jeff McNurlan, Jim Rogers Percussion Andrew Bill (caption head), Gabriel Cobas (front ensemble supervisor), Brian Stockard (battery manager), Behkie Aguilar, William Calvario, Jacob Cornejo, Vince Gardner, Brandon Kovacic, Matt Regua, Tim Tintari, Matt Walters Color Guard Angela Tousley (caption head), Jennifer Barton, Kelly Davis, Louie Flores, Krystal Vanessa Garcia, Jennifer Guldner, Jenny Manio, Sergio Marquez, Antoinette Ochoa Visual Chris Cowling (caption head), Pablo Coppola, Matt Lackey, Garret Lopez, David Pham, Adrian Rivas, Rudy Ruiz, Darren Van Derpoel Physical Conditioning David Ifergan Student Leadership Adrian Rivas Intern Mark Kveton 91

Phantom Regiment Rockford, IL I regiment.org Turandot Popolo Di Pekino!... Indietro, Cani Gira La Cote!... Perche Tarda La Luna? O Mondo, O Mondo... O Tigre, O Tigre! Gravi, Enormi Ed Imponenti Gloria, Gloria Tre Enigmi M’Hai Nessun Dorma! All selections by Giacomo Puccini W hat is like ice, but burns like fire? Turandot. Giacomo Puccini’s famed opera is a treasure trove of powerful melodies, soaring arias and evocative musical colors, woven together on the field to evoke a full gamut of emotions. In Act One, we learn that those seeking the hand of Turandot—known as the Ice Princess—must correctly answer three riddles. Hypnotized by her power and beauty, Prince Calaf bravely accepts the challenge. In Act Two, the Prince must answer each riddle correctly in order to live to see sunrise. By Act Three, Calaf’s courage thaws Turandot’s frozen heart and we see the love buried deep within. Reborn in the warmth of his love, the Ice Princess finally melts in Act Four. The passion that flows freely between them is expressed by “Nessun Dorma!”—a Phantom Regiment hallmark that is also one of the most cherished melodies of all time. 92 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director Rick Valenzuela Program Director Dan Farrell Program Advisor, Medical Director Dr. Dan Richardson Tour Manager Allan Dekko Tour Assistants Joseph Benavidez, Gregory Benson, Aaron Hudson, Laura Prather Videographer Robert Cawthorne Conductor Dean Patterson Brass Don Hill (arranger), Christian Carichner (caption head), Andrea Brown, Taylor Criswell, Jeremy Figlewicz, Joe Gray, Brad Hughes, Larry Jones, Holly Maldonado, Freddy Martin, Michael Martin, Will Plenk, Andy Poor, Josh Scott, Chris Yee Percussion Shane Gwaltney (arranger, caption head), Matt Jordan (front ensemble arranger), Meagan Hills, Joe Hobbs, Mark Hunter, Andrew Lynge, Sean McElroy, Phil Morgan, Adam Norris, Tony Nunez (electronic sound design), Derrick Shannon, Dr. Eric Willie, Sean Womack Color Guard K.C. Perkins (caption head), Tricia Gooley-Rarick (caption head), David Veda (caption manager), Michael James (choreographer), Becky Huls, Christopher Hamilton, Lindsay Kusmierczak, Amy Metzler, Damon Padilla, Annie Pelka, Michael Richman, Carrie Short, Philip Traini, Jenn Albertson (hair/makeup), Alan Spaeth (flag design) Visual K.C. Michel (coordinator), Jamey Thompson (designer), Dwight Emmert (caption head), Reggie Adams, Ben Chambers, Cathy Clubb, Jay Emmert, Will Schulze, Scott Schumann, Drew Solomonson, Eric Taylor 93

Pioneer Milwaukee, WI I pioneer-corps.org Irish Immigrants: The Hands That Built America The Irish New World (movements from Antonín Dvorˇák’s Symphony No. 9) I’ll Take You Home Again, Kathleen by Tom Westerndorf Recollections of Ireland by Ignaz Moscheles I’m Shipping Up to Boston by the Dropkick Murphys Entering its 51st year of competition, Pioneer from Milwaukee, Wisconsin—with its glittering sham- rocks on the traditional U.S. Marine Corps-style white caps—clearly shows that it is the “Irish Corps.” That identity is at the heart of Irish Immigrants: The Hands That Built America, which begins with “The Irish New World,” a modern piece that uses elements of Dvorˇák’s Symphony No. 9. It’s followed by the beautiful ballad “I’ll Take You Home Again Kathleen” and Moscheles’ emotional “Recollections of Ireland.” All three are brilliantly interpreted by DCI Hall of Fame arranger Ken Norman. The show concludes with a rous- ing rendition of the Celtic punk rock band Dropkick Murphys’ “Shipping Up to Boston.” Listen throughout the show and you’ll hear strains of other Pioneer favor- ites. Wherever possible, Pioneer will troop the stands, playing its theme song, “The Garry Owen March.” 94 2012 DCI SOUVENIR YEARBOOK

Staff Director Roman Blenski Drum Majors Josh Lloyd, Jessica Marsala Color Guard Sergeant Lisa Janasik Brass Ken Norman (arranger), Lansing Dimon (caption head) Percussion Chris Theo (arranger), Tyrell Carver (caption head) Color Guard Gaston Ward (designer), Seth Pearson (caption head) Visual Rick Morey (designer), Sean McDermott (caption head) 95

Santa Clara Vanguard Santa Clara, CA I SCVanguard.org Music of The Starry Night Leonardo Dreams of His Flying Machine by Eric Whitacre Hymn to a Blue Hour by John Mackey Mars, the Bringer of War by Gustav Holst Jupiter, the Bringer of Jollity by Gustav Holst S ix-time DCI World Champion Santa Clara Vanguard reaffirms a long-standing commitment to masterful music with its 2012 production: Music of The Starry Night. In celebration of the corps’ anniversary and a nod to forty-five years of history, innovation and excellence, the music of Eric Whitacre, John Mackey and Gustav Holst paints a celestial composition using Vincent van Gogh’s magnum opus, The Starry Night, as its inspiration. With an emphasis on ear-friendly music for drum corps fans, Santa Clara presents the beauty, power, and magnificence of van Gogh’s masterpiece: a night sky filled with swirling clouds, blazing stars, and a bright crescent moon. 96 2012 DCI SOUVENIR YEARBOOK

Staff Executive Director/CEO Jeff Fiedler Chief Operating Officer Kathy Serksnis Operations Manager George Brown Staff Coordinator Denise Bonfiglio Corps Manager Josh Parm Tour Manager J.W. Koester Staff Facilitation Tom Andrews Drum Majors Justin Cunha, Noe Gomez Design Mike McCool (program coordinator), Pete Weber (drill designer), J.D. Shaw (brass arranger), Paul Rennick (percussion arranger), Sandi Rennick (percussion arranger), Jon Vanderkolff (color guard coordinator) Brass George Wozniak (caption manager), Bob Higgins, Daniel Galloway, Mark Nichols, Sean McMahon, Joe Busuito, Patrick Geren, Bryen Warfield, Scott Dupre, Ryan Adamsons Percussion Paul Rennick (caption manager), Nick Taylor, Cory Davis, Mike Hodges, Matt Penland, Frank Nedley, Dan Rainbow, Brian Lowe, Kent Cater, Akira Robles, Rafael Bretado, Mike Talerico, K.J. Stafford, Reid Paxton, Tyler Samuels, Lloyd Puckitt, Sam Flores, Josh King, Dan Rainbow Color Guard Jennifer Leseth (caption manager), Greg Lagola, John Escalante, Alexis Velez, Amanda Morris, Brian Robinson, Rick Subel, Jenny Spohr, Dani Reales, Joey Powell, Stevenson Lumapas Visual Chris Alexander (caption manager), Levi Chavis, Ryan Demkovich, Ashley Donaldson, Matt Hartwell, Robert Beavers, Ivan De La Cruz, Taylor Trevino, Mike Gillespie 97

Spirit of Atlanta Atlanta, GA I spiritdrumcorps.org Sin City Music From the Film Bullitt by Lalo Schifrin Harvest: Concerto for Trombone by John Mackey Luck Be a Lady by Frank Loesser Poker Face by Stefani Germanotta (Lady Gaga) Music From the Film Mr. and Mrs. Smith by John Powell “W elcome to Fabulous Las Vegas!” These five words have lured millions to the most entertain- ing city in the world. From romantic young lov- ers to savvy high rollers, Vegas demands we dream big, live big—and always play our last hand of the evening with the chips “all in.” Wrapped in miles of neon lights, this great American mecca of unbridled excess flashes in the desert like a 40-carat ring. Grand casinos, glamorous showgirls, cele- brated crooners, and the seduction of Lady Luck keep visitors coming back for another amazing, decadent, wild ride. With the promise that any moment could change your life forever, no wonder it has long been dubbed Sin City. With Spirit of Atlanta as your guide, it’s time to hit the strip. 98 2012 DCI SOUVENIR YEARBOOK