Drum Corps International 2010 Yearbook

remo.com Carolina Crown The Cavaliers The Cadets Santa Clara Vanguard Phantom Regiment Blue Stars EnEdndDaDtaet:e: CoCloorl:or: BlaBclkack ImImagaegeUsUasgaeg:e: YeYlloewllow MaMgaegnetanta L:L7: .77.57”5x” x101.03.7357”5” CyCanyan B:B8: .85.”5x” x111.11.2152”5” ArtA&rt I&mIamgaegIedeIdnetifnictiafitcioantio: n:(lis(tlinsgtinugpuopnorneqreuqeuste)st) FoFnot nFtaFmailmieisli:es:(de(dtaeiltsaiulspuopnorneqreuqeuste)st) MMecehcahnaincaiclaDl iDmimenesniosinosn:s:T:T8: .82.52”5x” x101.08.78575 Pulse Percussion MEMCEHCAHNAICNAICLAILNFINOFROMRAMTAIOTNION drAdrtAisrtiEstnEtrnietrsi:es: Music City Mystique RCCSTSUTDUIODIIONFINOFROMRAMTAIOTNION PriPnrtinPtroPdroudceurc:er: DuDeueDaDtaet:e:5/51/91/91/010 CoCpoywpyrwiterrit:er: PuPbulbiclaictaiotino/nA/dAddrdersess:s: ArtADrtirDeicrteocrt:or:GeGrreyrrGyoGmoemzez ExEecxuetcivuetivCereCaretivaetivDeirDeicrteocrt:or: PuPbulbiclaictaiotinosn:s:DCDICI AGAEGNECNYCCYRCERDEITDSITS AdAdCoCdoed:e: AdAdCaCpatpiotinonoroTr iTtleitl:e:GGreraetaetsetsHt eHaedasds1212DCDICI DoDcuomcuemnet nFtileFnileanmaem: e:remreom_og_regareteasttehsethaedas1d2s1_2d_cid.icnid.inddd ReRveisviosinonNuNmumbebre: r:1 1 MMedeidai:a:MMagaagzainzien,e4, /4C/C DigDitiaglitRaleRsoeusorcuersce#s: #: ClCielinetn: t:ReRmemo o AgAegnecyncJyobJo#b: #: MoMnothn:th: FOFORRPUPBULBILCIACTAITOIONNCOCONFNIFRIMRMATAITOIONN CliCenliet nFtoFldoeldr:er: StuSdtuiodLiooLcaotcioantio: n:remreom_og_regareteasttehsethaedas1d2s1_2d_cidci SESREVREVREPRAPTAHTH SPSAPSAMSMOODIDCIC- P- RPORODUDCUTCITOIONNDADTAATA Ayala H.S. Dartmouth H.S. L.D. Bell H.S.

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BYGUGOETETUTARORN! DRUM CORPS MEMORABILIA TELLS THE STORY OF MARCHING MUSIC IN LIVING COLOR. By Adam Perlmutter Whether you’re talking about vintage guitars, old baseball cards, or original Barbie dolls—just to name a few examples—pretty much any American activity with a hardcore fan base has a col- lector culture to go with it. Few fans are as passionate or steeped in history as those who follow Marching Music’s Major League. That devotion has spurred a growing community of peo- ple collecting and sharing memorabilia dating back to drum corps’ earliest days. “There are probably thou- sands of people—both for- mer members and hardcore 51

12 3 1) New York Skyliners Senior Drum and individual collections small and large in the CORPS JACKETS AND INSET: COURTESY OF BILL IVES Bugle Corps, New York 2) Precisonaires Drum Corps Collectors & Historical Society. Junior Drum and Bugle Corps, Osage, The organization’s mission is to document Iowa 3) 1951 Archie Henry Houston Post. the broad history and legacy of marching 4) Tom Cassidy (L) and Jim Logue of the music in America, or, as Jacobs puts it, 1938 Champion Archer-Epler Junior Drum “We want to tell the story from the battle- and Bugle Corps hold a photo from the field to Broadway.” 1939 World’s Fair, with Bill Ives (R). “Bob and I have talked over the years about creating a permanent marching music museum that would include fans—with drum corps col- items dating back to before civilian drum corps, and which would cover many forms of marching music,” adds lectibles,” says Robert Jacobs, 4 Vickers, who actually created a makeshift drum corps Executive Director of the museum during the 1985 Championships in Madison, Wisconsin. “We think seeing all the cool stuff from an Jersey Surf and himself an earlier era can spark the interest of future generations and even encourage people to start new corps. I think if avid collector. “But it’s been very individual.” there was a venue to preserve and share this stuff, people would come out of the woodwork with Some of the greatest of these individual collections will their collectibles.” be on display in the Festival Marketplace during the 2010 Preserving the past for future generations motivates col- World Championships at Indianapolis’ Lucas Oil Stadium. lectors like Bill Ives, who “There will be thousands of pieces on hand,” Jacobs says. aged out of Philadelphia’s Chaplain Dale fife and “These collections are more than mere keepsakes; these drum corps in 1980 and later joined Upper Darby, artifacts tell the story of marching music in America.” Pennsylvania’s Archer-Epler Musketeers senior corps—the The Material of Memories first-ever alumni drum corps. “I’m a big collector, but what I’m ultimately interested in is the rich his- One of the things that makes drum corps collecting so interesting is its sheer variety, both in the items avail- able and in the interests of the collectors them- selves. “People collect corps buttons, record albums and CDs, program books, uniforms, photos, posters, old magazines and newspa- pers, and more” says Steve Vickers, publisher of Drum Corps World, historian, author, and collector in his own right. “I have hun- dreds of magazines dating back decades, cartoons, and other memora- bilia. When young people see these items, it stirs their imaginations.” Vickers and Jacobs have been work- ing together to assemble items from 52 2010 DCI Souvenir Yearbook

tory of drum corps,” says Ives, whose collection will be A Comic on display at the Championships. Collection Ives started collecting when some of the older T he serious business of performing has been members of the Musketeers passed away and he real- driving drum corps members to excellence ized that the stories of those living should be pre- for generations, but it’s not their only common served. The men and women Ives encountered not bond. Maybe it’s all those peanut butter sand- only offered an oral history of drum corps’ formative wiches, but the drum corps community seems years; most had kept souvenirs from their marching to share a rather specialized sense of humor. days—their own uniforms, photographs, and more. Steve Vickers’ new book The Art of Drum Corps Many would donate these items to Ives to preserve for World presents nearly posterity. 40 years of comic strips depicting corps “A lot of collectors go in search of items, but most life. “The collection is of my pieces came to me,” says Ives. Starting with the almost like another acquisition of a dozen vintage Archer-Epler uniforms in history book,” Vickers 1990, Ives has amassed 65 uniforms and corps jackets says. “Young fans can from 1938 to the present, 25 shakos and overseas especially relate to caps, 300 vinyl records, 100 pins, and 150 program ‘The Rookie’ by Don books from 1935 on. Daber, which ran throughout the 1970s, Ives usually takes several pieces from his collection ’80s and ’90s. Most of to DCI events as souvenir manager with the Jersey its subjects are still Surf. While he’s there to sell new T-shirts, pins, and relevant today. Older fans will appreciate the other merchandise for the Surf (the collectibles of the historical series called ‘The Way We Were,’ future) Ives uses old shakos and uniform jackets to give among many other topical and humorous young fans a drum corps history lesson. “History to observations by the talented artists who con- kids is what happened a few weeks ago,” he explains. tributed their talents to Drum Corps World.” “They don’t realize the legacy of drum corps—which is Learn more at drumcorpsworld.com. what I’m trying to protect.” 53 His collection has grown to the point that Ives had to move everything out of his house and into the back room of his local VFW. “This made my wife, Terri, whom I met in the Musketeers and who’s actually been uncondi- tionally supportive of my collecting ways, quite happy,” Ives admits. Uniforms and equip- ment give a sense of what it must have been like to step onto the field, while souvenirs like T-shirts, caps and buttons tie today’s fans to their forbears. Bringing both the member and fan experience together are the stories written in classic drum corps publica- Buttons and patches remain among the most popular collectibles.

Casting Collectibles Most of today’s drum corps collectibles were designed drum corps,” Christenot recalls. 12 different corps with 25 figures “So I had to teach him how to each—have found thousands of to be day-to-day gear or fan items capture the essence of the activi- fans, mostly in the United States, that have become more meaning- ty. I didn’t want to just make stan- but some from as far away as ful over time. But while such dard marching-stiff band figures.” Japan and Indonesia. Some buy memorabilia didn’t start with the To make his figures as realistic as every single figure—and display future collector in mind, products possible, Christenot studies vid- them in glass cases—while others like Drum Corps Miniatures do. “I eos and still images of the respec- acquire figures of only their favor- make collectibles inspired by the tive corps, noting such details as ite corps. Drum corps fans have players and moves I see on the apparel, instrumentation, and the always been sticklers for detail, field,” says Forrest Christenot, the posture of each performer. Under and fans have helped Christenot company’s founder. Although he Christenot’s direction, Higgins keep his work accurate. For exam- never officially marched in a corps, sculpts the master figures, then ple, in the photos that Christenot the retired United States Marine Christenot takes over, from the originally referred to when creat- Corps officer has been a drum pouring of melted pewter into the ing his first figures, a 1998 Santa corps fan all his life. He also col- molds until the application of a Clara Vanguard “Bottle Dance” set, lects vintage lead toy sol- “I make collectibles inspired by the diers. Sometime in the players and moves I see on the field.” mid-1990s Christenot decided to combine these interests by making accu- rately detailed vintage-style fig- clear finish to the painted figures. the performers appeared to have ures of modern drum corps. “I (Full details of the process are black hats, sashes, and skirts looked around at some shows and shown on Christenot’s website, when in actuality they were dark websites and realized nobody else drumcorpsminiatures.com.) green. A collector pointed out this was doing it,” he says. “I was just “I’ve got over 200 minis,” error, and Christenot corrected crazy enough to try it.” says Larney Wilson, Jr., one the figures. Christenot’s first challenge was of Christenot’s biggest collectors. “Like the postage stamp to guide the English sculptor Gary “They bridge my interests of with the upside-down airplane,” Higgins in designing the master drum corps collectibles and he says, “I guess the original figures used to produce the minia- antique toys.” Santa Clara figures are more tures. “He knew nothing about Christenot’s minis—currently collectible now!” PHOTOS COURTESY OF FORREST CHRISTENOT 54 2010 DCI Souvenir Yearbook

ing to events with his stuff in milk crates,” Jacobs says. “Every year, I try to spend at least $10 at each drum corps souvenir booth,” says Larney Wilson, Jr., a longtime fan and collec- tor. “That’s one way I’ve built my collection of buttons. If a given corps doesn’t have anything I’m interested in, I usually make a donation of $10.” Items from both individual corps and DCI are now readily available online. The Internet has also made it easier to trade in vintage T-shirts, pins, CDs, DVDs, etc. “I’ve gotten many of my drum corps items on eBay,” says Wilson. A recent search on the site for “drum corps” produced more than 100 hits. Some of these items come from private collections; some from dealers. But while Jacobs points out that most are legitimate, some items may be counterfeit. “Always check on the source,” he says. Yet Jacobs says the majority of people who are into drum corps memorabilia do it tions. “Over 60 years there have been maybe 30 or 35 for preservation, not profit. “They want this stuff in good different publications. Many were short-lived,” saysVickers, hands,” he says. “Heck, when I bought our souvenir trailer who has assembled a huge archive of old magazines, [from a former collector], one of the conditions of the sale newspapers dedicated to the activity, as well as a large was that I never remove any of the old bumper stickers collection of vintage drum corps comics. Ives has also that were on it!” amassed a written record of drum corps history with a Wilson got his most treasured piece not through a collection of Drum Corps News issues from 1961 to 1985. booth or online but directly from a corps. “I’ve got the Eventually, he hopes to have them digitally scanned, ‘Graduation Flag’ that the 2000 Garfield Cadets color archived, and made available online. guard used at the beginning of the show. It always makes Treasure Hunting me smile and brings me good memories of the event.” “The majority of collectors are saving memories of the While some memorabilia markets have been overtaken by time they spent in drum corps in their youth,” adds investors who see their collections as Vickers, who began playing bass drum commodities, the value of a classic with a corps in 1961 before moving piece of drum corps history is mea- on to the Hutchinson, Kansas, Sky sured more by emotion than by mar- Ryders’ brass section, aging out in ketability. “I was really moved to 1970. “Whether they’re former mem- receive a 1938 jacket from the widow bers or fans, people save these things of a former marcher,” Ives says. ”That’s to remember a more innocent time, something no one can put a price on.” especially for the era before the Attending a drum corps event may Vietnam War when the activity was still be the best way to get souvenirs more local.” new and old, though the trade is less “Every era has its own ‘innocent informal that it was years ago. “You’d time,’” Jacobs says “The effort to have guys like Moe Knox—who has an assemble and preserve these collec- incredible collection with hundreds of The Jersey Surf souvenir trailer sports tions will keep those times alive for thousands of drum corps photos—go- a bumper crop of vintage stickers. each new generation.” 55

Growing from military roots, modern color guard has evolved into a force that brings a unique combination of athleticism and emotion to the field. BY DANNY MILES 56 2010 DCI Souvenir Yearbook

A burst of spectacular color erupts to the sound of brass and percussion. Fireworks? Not literally. But the speed and artistry of modern drum corps color guards can inspire the same sense of awe and wonder as starbursts in the night sky. s you experience the visual and aural rifles and sabers on the field. “The very first color explosion of a drum corps performance, guards were honor guards,” explains Scott Chandler, pause for a moment to think of Baron program coordinator and color guard designer for Frederick William von Steuben, the man who the 2009 World Champion Blue Devils. “Honor started it all way back in 1777. Wait…what? guards grew to include state flags with more Let us explain: While on diplomatic duty in Paris weapons used to guard the flags.” An honor guard during the American Revolution, Benjamin Franklin carries and watches over a state or country’s flag, recruited Prussian officer von Steuben to travel to or “colors.”Traditional guards remain an important the States and serve under General George part of military and state ceremony. Washington. At the time, Washington was endur- When civilian drum corps began to emerge in ing a brutal winter with the Continental Army at the first decades of the 20th century, they often Valley Forge, Pennsylvania. marched along with such color guards in parades Boosting morale and discipline were high on von and other community events. As competitive Steuben’s to-do list. As part of that effort, he cre- marching began to take root across America over ated the first U.S. manual of drill, ceremony, and the next few decades, the musicians and the color service regulations, a document that set the foun- guard became more intertwined. dation for color guard as part of American military By the 1950s, some corps directors and show protocol. He knew that military ceremonies stirred designers started looking for ways to make their emotions and offered soldiers and civilians alike a shows more entertaining and artistically expres- sense of pride and purpose. sive. The musical repertoire expanded, and with it Flash forward 230-odd years. The modern color the scope of the color guard’s performances. “Each guard combines athleticism and art in a way that decade brought changes to the color guard, some- von Steuben could never have imagined. But the thing ‘new and innovative’ for that time,” says guard’s ability to convey emotion PHOTO U.S. MARINE CORPS: PFC. JOHN ROBBART III while executing challenging moves The U.S. Marine Corps Color Guard with precision, speed, and coordina- continues a tradition dating back to tion might well please his Prussian early American history. eye for detail. Flags of Our Fathers In fact, though it may not seem obvi- ous to the uninitiated, today’s highly theatrical color guard units trace their roots directly to the military guards of yesteryear—one reason we still see 57

Glassmen program coordinator Sal indoor color guard movement became the great laboratory Salas, who built a reputation for break- of experimentation in the 1960s,” Chandler says. “This ing creative boundaries over decades era transformed what had previously been a more pre- in leadership positions with the sentational event into one of communication and emotion.” Madison Scouts. “As the drum corps The design and performance techniques developed by the [became more musically adventur- indoor “comp guards” quickly began to make their way onto ous], so did the color guards. Color the drum corps field. It’s com- mon now, but the idea of spin- guard is as important now as it was ning flags was revolutionary at the time. “Simulated rifles way back in our early beginnings.” became somewhat lighter and easier to manipulate,” adds veteran designer and DCI Hall of Famer Shirley Dorritie. Soon, guard members were “As spinning and tossing weapons [became more popu- lar], rifle and saber lines appeared both indoors and out.” called on to do more than march in “Rifle lines had certainly taken their cue from the military use of weapons, and exchanges [tossing weap- formation. But they were still ham- A member of the ons from one member to another] weren’t foreign,” pered by the large flags and heavy Cavaliers executes Chandler adds. “But translating those ideas to the weapons they had to carry. a challenging toss drum corps color guard became pivotal. Rifle lines in the early 1980s. from the Troopers and the Kingsmen were fine exam- ples of how rifle work developed with the use of Gradually, equipment rules speed through the interpretive process.” changed to allow the guard more mobility. “Once tall flags became an element of added color, I think it was probably the elimination of fringe—the finial piece on top of the pole—and the holsters holding the flags that led to lighter [equipment] and increased freedom of movement Dancing by DCI’s Rules By the late 1960s, the VFW’s traditional drum corps rules had started to feel restrictive to some design- ers, who felt that the scoring system of the day penalized small technical errors without rewarding 1988 Santa Clara Vanguard daring and creativity. demonstrates the marriage of It was around this time that dance technique new props and costuming. made its way onto the field; it would eventually transform the guard from a marching unit to one for those carrying the flags,” Chandler says. “Pre-Drum capable of almost limitless movement. Corps International groups like St. Kevin’s Emerald Knights, “The use of body redefined color guard,” Chandler the Kilties, and the Madison Scouts used the flag in inno- says. “And for that we owe a huge debt of gratitude to vative ways.” Stanley Knaub [instructor for the Santa Clara Vanguard and Inside Outside Seattle Imperials, among others, during the ‘70s], who was absolutely instrumental in bringing dance technique The newfound freedom inspired color guard designers to and related concepts to dimensional equipment work— expand the mission of their units and tie the guard’s and not only with color guards. Stanley offered choreogra- movement more closely to the music. Ironically, the phy for musicians in ways that no one had imagined.” guard’s growth as an expressive force was accelerated by But as with any movement that pushes traditional time spent away from corps musicians, as guards com- boundaries, the shift from military to theatrical presenta- peted indoors during drum corps’ winter offseason. “The tions met some resistance. In the early 1970s, shows like 58 2010 DCI Souvenir Yearbook



Rules changes in the 1970s saw the control. The new rule opened traditional uniforms and American flag the way for all of the equipment presented by the Troopers give way to usage that is standard practice the more theatrical attire and flags seen in today’s shows.” in this Marauders (right) show from ’94. Yet tension remained the Madison Scouts’ “Scouts in between traditionalists and Fantasyland” and a circus-themed those seeking even more cre- program by the Cavaliers led some ative freedom. “By the late traditionalists to complain that ’70s, the American flag could drum corps had died. The govern- be posted rather than car- ing VFW reacted strongly, ban- ning the more dance-oriented ried—which was extremely movement from the field. controversial!” says Dorritie, who recalls that the rule The corps’ desire to maintain change posed some unin- creative control helped pave the tended challenges for the way for Drum Corps International guard. “The code used by DCI in 1972. The modern color guard mandated that no flag could was about to emerge. be higher than the American flag,” she adds. “This meant “By the time DCI came into existence, color guard that flag tosses of any height had developed substantially into a group of performers were subject to penalty! When that interpreted the music,” Chandler says. “They pre- the American flag was posted, sented a stylized representation of marching units and— it was even lower to the ground, as the evolution continued—an exploration of concept and so we had to use 15- to 20-foot emotion through equipment and body.” flagpoles, which were really unstable in the wind. As I recall, The Modern Guard Draws a Flag Santa Clara Vanguard devised a raised podium with steps lead- The dawn of the DCI era unshackled the color guard and ing up to theirs.” added momentum to the turn away from its traditional Yet despite the opposition flag-bearing role. “The formation of DCI allowed the corps within some circles, top guards to have direct input into rules of competition,” Dorritie were becoming a major attraction. “In 1975, the 27th explains. “This led to the presentation of the colors Lancers brought recognition to color guard as a valuable becoming ‘optional’ in the mid-’70s.” part of drum corps,” Salas explains, adding that a young Scott Chandler was also making “a pivotal contribution. Other rule changes allowed for more freedom in the His choreography with the Bridgemen was a turning point choice and use of equipment. “In the mid-’70s, color for the use of dance in drum corps.” guards were allowed to ‘ground’ their equipment,” For the new wave of designers, there would be no turn- Dorritie says. “Previously, they could only use one piece ing back. “By the early ’80s, the American flag became of equipment for the whole show, and were penalized if optional,” Dorritie says. “I cannot overstate how contro- it ever hit the ground and was out of the performer’s versial this was! But it literally made the sky the limit in terms of choreographic design for flags.” Following this dramatic change in the flag’s role, DCI revamped its rules to encourage designers to take cre- ative chances. “The next big event was the change in the scoring system from the ‘tick’ error format to the ‘build up’ current system,” Dorritie adds. “Color guards were no longer forced to balance high exposure to error with the limited potential for earning credit. In the old system, a risky color guard event could lose two tenths of a point in 60 2010 DCI Souvenir Yearbook

execution and perhaps earn nothing in The EquipmentGeneral Effect. In my opinion, this was the absolute sea change for color guard.” From Uniform to Free Form With their units moving faster and covering more ground than ever before, designers began looking for ways to help fans and judges take in the full impact of the guard’s performance. The evolution from “uniform” to “costume” was under way. “For the most part, the guard’s attire at Drum corps color guards may seem far removed from their the time was similar to—if not exactly like— military origins, but equipment—mainly rifles, sabers, and the main corps’ uniforms,” Salas recalls of flags—act as reminders of the days when the mission was to DCI’s early days. “Today, a guard’s costume guard the colors. But they’re not the only items to find their may be directly opposite in color to that of way into the guards’ hands. “In the late 1970s and early ‘80s the the main corps—for example, if the corps is exploration of props presented new ways to give information,“ in black, the color guard will be in white in says Scott Chandler. “Like everything, the use of equipment order to make it more visible to the audi- goes through cyclical trends. More often than not, the three ence and highlight its contribution to the basic pieces of color guard equipment are in wider use these total production.” days. But props still make their appearance in a direct relation- ship to the concept of the show. Phantom Regiment’s [2008 While the musicians in a corps usually championship-winning show] ‘Spartacus’ is a great example of wear the same style of uniforms for many this. Another example was the Blue Devils’ use of the ‘tightrope’ years at a time, a modern color guard’s cos- tumes may change to reflect fash- balancing poles; the prop not ion or the theme of a given year’s only showed character—the show. “Costuming has gone from tightrope walker—but was military to elaborate to minimal to also used for spinning and ‘glitzy’ to a combination of several tossing, and then used to cre- different options,” Salas says. “[DCI ate patterns on the field that impacted the staging of all Hall of Fame member] Michael the sections of the corps.” Cesario was a primary force in creat- ing the ‘costume’ look for drum corps ments and musical styles. As color guards and continues to do so.” the repertoire expanded, so too The material used in modern cos- did the technical demands on tumes is not only there to catch the the musicians—which in turn eye. Today’s guard costumes are made for maximum flex- inspired color guard designers to keep pace with even ibility. “The use of stretch wear opened the door for the more elaborate staging. performer to communicate with more physical, athletic “There are a few more physical demands placed on the movement,” Chandler explains. “Stanley Knaub actually guard members of today,” Salas admits. “Most of the costumed a dance line with the Sacramento Freelancers time, they must have the ability to perform the triad— that took its cue from this philosophy. It was a major form, body, and equipment—simultaneously [see “The event when the Blue Devils changed to the jumpsuits that Triad” on the following page]. Today’s color guard mem- became such a recognizable feature.” bers must spin, dance, march, and perform whatever Pushing the Physical Limits characters and emotional qualities the designers give them. Members are now experienced dancers, theater Of course, drum corps’ evolution during the DCI era hasn’t majors, and well-trained equipment handlers with a high been restricted to the color guard. Just as new rules level of technical ability. Most march with winter color removed restrictions on the guard’s movement and guards to maintain their training and endurance.” appearance, they also encouraged an influx of new instru- Over his decades as a member and instructor, Chandler 61

The Triad To keep up with the demands of modern drum corps, guard members have to be strong in three areas, known as the “triad.” BODY: FORM: EQUIPMENT: This encompass- Adding to the Guard members es all of the challenge of must throw, physical moves each guard catch, spin, and an individual member’s indi- otherwise guard member vidual move- control rifles, must execute, ment is the need sabers, flags, from the basics to maintain and other props like marching cohesion and while on the and performing dance steps to formation with all other members of move. A difficult skill in and of itself, much more acrobatic exertions like the group, a skill known as form. It the use of equipment becomes even jumping, holding poses, stretching, requires timing, precision, a keen more challenging because the mem- etc. The very best guard members eye for detail, and unwavering body ber must execute while performing must have mastery over upper and control even under the most difficult body moves and maintain- lower body skills. demanding conditions. ing form—all at the same time. has watched successive generations of guard members ates even more responsibility for the musicians, who have rise to meet ever-increasing demands placed upon them to learn dance and movement techniques that weren’t by designers like himself. “Through the years, we’ve required in the past. Brass and percussion sometimes seen the talent level of our performers continue to need just as much training as the color guard to make exceed our expectations,” he says. “I’m sure it must be certain movement sections come to life!” the same for musicians too. When I was marching, we The members themselves are eager to meet these certainly didn’t have the flexibility, the gymnastic skills, or challenges night after night. “Every person there paid the kind of power—espe- A member of the their money to see a great show,” says Lance cially in achieving toss 2009 Blue Devils Powell, who marched with the Bluecoats from rotations—that today’s per- shows how far color 2004-09, the last three of those years as formers possess.” guard has stretched Captain. “It was my job during the summer to in the last 40 years. The guard’s ability to put every ounce of energy into creating those interpret the music has also magical drum corps performances.” led to a greater integration “Every year we see the bar being raised at between guard staging and auditions,” Chandler says. “These days, per- the musicians’ drill. “It has formers are offering new levels of physicality, become more common for endurance, and theatrical skills.” the guard members to inter- act directly with the musi- Guarding Their Legacy cians,” Salas notes. “This Despite the dramatic evolution from its origi- usually occurs when there is nal form, modern drum corps color guard a lyrical section of the pro- maintains an emotional tie to generations gram. For example, a dance past. The days when guards marched into section may call for a mascu- DCI competition carrying Old Glory may be line figure—usually a member over, but they’re echoed when the Stars and of the percussion or brass Stripes appears on the sidelines at today’s section. Programs have also World Championship Award Ceremonies. evolved where ‘characters’ “The passion and drive to communicate are part of the story, requiring with the audience has not changed,” Chandler the performers to have some concludes. “The members’ love for being in type of acting lessons to bring the moment is the same as the drum corps their characters to life. This cre- I first experienced so many years ago.” 62 2010 DCI Souvenir Yearbook





the corps By Michael Boo Drum Corps International’s World Class—which includes corps of up to 150 members—grows to 23 as Teal Sound makes the leap from Open Class in 2010. The Open Class (which may feature younger performers and more abbreviated touring schedules) will also include six groups that did not compete in 2009. THE 66 BLUE 68 ACADEMY DEVILS BLUE 70 BLUE 72 BLUECOATS 7TH BLUE KNIGHTS STARS 74 REGIMENT 113 DEVILS B 115 BOSTON THE CAROLINA LEGENDS OREGON CADETS CRUSADERS 76 78 CROWN 80 117 CRUSADERS 119 CASCADES THE COLTS 86 RAIDERS REVOLUTION 82 CAVALIERS 84 121 123 CROSSMEN GLASSMEN JERSEY 92 VANGUARD VELVET SURF 88 90 CADETS 125 KNIGHTS 127 MADISON 94 MANDARINS PACIFIC 98 OPEN CLASS SCOUTS CREST 96 CONT... 129 PHANTOM PIONEER SANTA CLARA • Blue Devils C STRÄNGNÄS • Blue Saints REGIMENT 100 102 VANGUARD 104 • City Sound 135 • Colt Cadets SPIRIT TEAL 108 TROOPERS • Forte ALL-AGE SOUND • Genesis 106 110 • Gold 137 • Impulse • Incognito • Les Stentors • Music City • Platinum • Racine Scouts • Spartans • Spirit of Newark/ New Jersey • Thunder 65

The Academy ”Strangers In Paradise“ Inspired by the Romantic-era music of Alexander Borodin and Camille Saint-Saëns, Strangers In Paradise sparks the imagination with imag- es of fantasy and adventure, illustrating humankind’s never-ending quest for the proverbial (and perhaps unattainable) Paradise. In place of a literal storyline, the Academy draws on the visual sets of the opera Prince Igor and the musical Kismet—which was largely based on Borodin melodies—to offer a sense of color and wonder, and transport us far from the reality of everyday life. Dreamlike visions appear throughout this magic carpet ride through the imagination. We see an array of rousing dances that seem to defy gravity. An alluring female harem tempts the senses, and a group of brawny male warriors seeks to intimidate the soul. Finally, the dazzling beauty of a bird of paradise fills our eyes with color, getting us as close to Paradise as we’re likely to come within the confines of a stadium. 2010 REPERTOIRE Prince Igor Overture by Alexander Borodin A(obfyqfrouCtmhaaemriCuiAlmlaenrniSmiavianaltls-S) aëns SPbyerilAnelcceextiaoIngndoserrfOBroopmroedrtainhe Pabnoy dlAolveCtxhsaoinadrnuesrDBaonrocdeins 66 2010 DCI Souvenir Yearbook

STAFF Executive Director Mark Richardson Business Manager Carol Balk Tour Directors Antonio Bracamonte, Brenna Byrne, Chris Kotterman, Bill Richardson Leadership Scott Lang Drum Majors Travis Whaley, Chris Sambrano, Lyndsey Mullens, Carol Sikes Design Glen Crosby program coordinator, (percussion arranger), Michael Klesch (brass arranger), Richard Hinshaw (drill writer), Brandy DuBose (color guard designer), Jack Mizutani (percussion arranger), James Hudson (consultant), Michael Raiford (consultant), Mark Richardson (executive director) Brass Michael Klesch (arranger), Christian Carichner (caption head), Jay Balk, Joshua Dawes, Emily Fetcho, Joseph Gray, Brad Hughes, Matthew Petterson, Chris Yee Percussion Glen Crosby (caption head, arranger), Jack Mizutani (arranger), Wes Anderson, Rick Barclay, John Hopkins, Brian Stevens, Mike Talerico, Brant Wills, Andrea Venet Color Guard Brandy DuBose (caption head), Michael Raiford (consultant), Randi Frost, Gabriel Gastelo, Rob Jett, Sergio Marquez, Liza Noriega, Brian Olson, Candice Partridge Visual Matt Ray (caption head), Casey Ehrler, Sandra Gentsch, Paul Lynch, Michael Shuldes, Matt Stout P.O. Box 11926 Tempe, AZ 85284 480-838-4203 arizonaacademy.org “ecaWonvend’etvairenhuyhieasdtmtohaeraytmsuobhcfiecsecrtslo‚sarfsyusa.‚l.l”ahli—hCsiotnstdotuchrotoyrreT‚ryaviasotWnfhidaleemyixcete‚ltlteaonckee‚s 67

Blue Devils ”Through a Glass‚ Darkly“ The wildly experimental selections from Bob Graettinger’s City of Glass were written for Stan Kenton’s 39-piece Innovations in Modern Music Orchestra, which included a full string section and French horns. The Blue Devils’ Through a Glass is based on this magnum opus, which premiered in 1948 to an audience shell-shocked by its atonal disso- nance. Two years later, Kenton produced a recording with many of the most famous jazz musicians of the day, stating, “You’re not supposed to understand it. You experience it with your subconscious.” It was, according to author Ted Gioia in The History of Jazz, the result of Kenton’s ambition to “create important music, jazz music on a larger scale than anyone had envisioned before.” But due to the unconventional nature of the work, it took decades for the masses to comprehend its importance. Combined with the work of other composers, this homage to a turning point in jazz exploration is visualized as an ever-changing city of glass and mirrors, illuminating a past that even today appears to herald the future. 2010 REPERTOIRE Conflict by Pete Rugolo Mirage by Pete Rugolo TbryaFjeracntkolyrinesMarks IbnycBidoebnGtrainettJiangzezr Laura by David Raksin CbyitByoobfGGralaetstsingSeurite I Tontos La Suerte De Los by Johnny Richards 68 2010 DCI Souvenir Yearbook

STAFF Executive Director David Gibbs Corps Manager Pete Emmons Drum Majors Brian Howard, Andrew Rogers, Tania Schmitfranz Brass Wayne Downey (arranger), John M. Meehan, Chip Crotts, Tony Lanzino, James Rocillo, Kevin Ronan, Joe Haworth, Van Mathews, Bill Watson Percussion Scott Johnson (arranger), Dave Glyde (music coordinator, arranger), Jim Wunderlich (arranger), Ben Maughmer, Jack Mizutani, Tim Tintari, Rudy Garcia, Ricky Odello, Sean Vega, Brian Dinkel Color Guard Scott Chandler (program coordinator, designer), T.J. Doucette, Robbie Jacobson, Janelle Yuen, Corey Robinson Visual Jay Murphy (designer), Todd Ryan, Ken Karlin, Jaime Holly, John Bradford, Brian Peter, Jarrod Huntley, Mark Dunton, Jesse Minor, Kari White, Ben Henderson, Karl Lowe (consultant), Anthony Smith (consultant) 4065 Nelson Ave Concord, CA 94520 925-689-2918 bluedevils.org “ftSgdphtWahteearhnoahdrlesudeiffetsiceaahaumcatentmfittrd‚nriieasuennitrnthggtihee’sneayasrrsno’rLeheufsueoaroacwilwrlapess‚assvuapnretmoOlnfomdrih-eealawtaraunhfndtest-oeaer- end of the night.” at the —Drum Major Brian Howard 69

Blue Knights ”Europa“ Artists, composers, designers and choreographers have often influ- enced (and drawn inspiration from) one another. Europa brings an ongoing dialog between European art’s various disciplines—and historical periods—to life on the field. Bizet’s “Farandole” is the first of three Romantic works of music to be invigorated by modern and contemporary artistic forces, including the vibrant complexity of Kandinsky’s nonrepresentational paintings, a dose of athletic dance, and a splash of ultra-modern fashion. Elgar’s “Nimrod” from Enigma Variations—which grew out of the composer’s personal depression—is set to visuals echoing Picasso’s Blue Period. The heroic finale to Brahms’ Symphony No. 1 is given a makeover by the House of Versace, with colorful Matisse cut- outs accenting the majesty of the music and nontraditional choreography completing the narrative of the European artistic experience. 2010 REPERTOIRE LF’aArralensdioelnene Suite No. 2: by Georges Bizet W.N. (from Enigma Variations) by Edward Elgar Nimrod (from Enigma Variations) by Edward Elgar No.1, Mvt. 4 Symphony Brahms by Johannes 70 2010 DCI Souvenir Yearbook

STAFF Director Mark Arnold Tour Management Jaime Martinez Staff Coordination Jason Buckingham Drum Majors Jordan Helwerda, Thomas Kober, Izaak Mendoza Design Jim Prime (brass arranger), Jay Bocook (brass arranger), Jeff Ausdemore (percussion arranger), Marc Sylvester (program, visual design) Brass Andy Smart (caption head), Ashley Drayer (assistant caption head), Brett Nelson, Michael Wille, Zak Ruffert, Shawn Murphy, Aaron Vogel, Darren Dukart, Travis Pruitt, Jed Weeks, Chris Clifton, John Matthews, Andy Sedlacek, Estephan Quintela Percussion Jeff Ausdemore (caption head), Paul Weber (battery coordinator), Chris Temple (sound engineer), Daniel Allen, Pat Amman, Austin Chappell, Dan Darrah, Alex Entin, Matt Moore, Matt Rice, Craig Sheffield, James Smith, Clayton Stroup Color Guard Tim Newburn (caption head, designer), Lindsay Kusmeirczak (assistant caption head), Krystle Breden, Patrick Elmore, William Martin, Theresa Fox, Carnel Daniels, Writers: Pam Davis, Andy Acheson, Louis Hellinger, George Staib, Tom Harrington Visual Jason Bentley (co-caption head), Craig Sellers (co-cpation head), Min Park, Alex Cardona, Edward Bernstein, Javier Tapia 1137 S. Jason St. Denver, CO 80223 303-777-1937 bknights.org “Our goal as performers each and is to go out the alndevbreinlg ehevimergoyhtneiigsohtnt of in an attempt to spread that to the audience.”—Drum Major Jordan Helwerda 71

blue stars ”Houdini“ Harry Houdini was arguably the best-known magician and escape artist of all time. In 1899, a vaudeville impresario booked him into top theaters throughout America and then arranged a massive tour of Europe. There, he challenged local authorities to lock him up—and then proceeded to escape from every setting. On his return to the States, he became the highest-paid performer in all of vaudeville, astounding audi- ences by being able to escape increasingly challenging and dangerous confinements. In Houdini, Blue Stars take fans through the master’s various stunts and presentations. The tools of Houdini’s trade are seen during each musi- cal selection: Look for straightjackets, handcuffs, shackles, ropes and other assorted encasements that bound Houdini to his audience’s imagination. The selections capture the escalating danger of Houdini’s one-of-a-kind acts. The ballad, for example, is a musical/visual dedication to his wife, Bess, whom many were convinced literally “held the key” to his dramatic escapes. 2010 REPERTOIRE Notes on a Scandal by Philip Glass Morning Passages by Philip Glass Primacy of Number by Philip Glass The Illusionist by Philip Glass Trapped by Frank Sullivan Tearing Herself Away by Philip Glass The Mountain by Marc Shaiman Nixon in China by John Adams 72 2010 DCI Souvenir Yearbook

STAFF Executive Director Brad Furlano Director Howard Weinstein Tour Directors Mike Freeland, Matthew Rummel, Ryan Musselman Business Manager Steve Stueck Drum Majors Zach Ashcraft, Mark Donahue Design Frank Sullivan, Kevin Ford, Tom Aungst, Neil Larivee, Michael Shapiro Brass Frank Sullivan (caption head), Josh Talbott (assistant caption head), Melissa Primavera, Seth Murphy, Matt Taylor, Andy Tye (consultant), Raquel Rodriquez (consultant), Donnie VanDoren (advisor) Percussion Tom Aungst (caption head), Neil Larivee (front ensemble coordinator), Joel Hilbert, Brian, Hanley, Chris Watson, Joel Gardner, Brad Meyer, Jason Medeiros, Justin Lewis (sound engineer) Color Guard Michael Shapiro (caption head), Krystal Shepherd, Sean Cooney, Anthony Garcia, David Lowry, Brittany Shepherd Visual Christopher De Leon (caption head), Bob Barfield, Jon Zollo, Mike Neptune, Greg Dalton, Jeff Blume, Brian De Leon, Chris Hardesty, Tim Handley, Trevor Cox, Garrett Griffin P.O. Box 2523 La Crosse, WI 54602 608-782-3219 bluestars.org “totcIonhthtb'oaeesrtlahiieneansidfnnmiicneoarglvtedtd.aihiectLblio2ed0vo1hr0ekouncomyforreocpstrorps oaaunnrdefvpaeennrsfhohiragmvhaeenrcgerl.oe”wvne—lDtruoomfMlaodjorveZeasch‚iAgsahnctraft 73

bluecoats ”Metropolis: The Future Is Now“ With Metropolis: The Future Is Now, the Bluecoats imagine a world where anything is possible, leading us into a futuristic state where the sounds, energy, and fluidity of a population converge. People communicate via motion and sound, incorporating gestures, rhythm, and even architecture into their expression. The corps harnesses the electricity generated by this multilevel interaction for the journey ahead. In the first movement, the color guard emerges from an inanimate state to start the journey into the unknown, a voyage in which the brass and percussion soon join. The pulse of the city comes alive in a rhythmic conversation with the percussion, but soon, the individuals feel isolated and alone, even as crowds surround them. Though it’s not always easy to fit in, each individual becomes one with his or her new environment. The inhabitants of the city confidently head into the future, fully in control of the force that propels them toward their respective destinies. 2010 REPERTOIRE 1ab6ny0dHaBDnPes MmZimo(nfmrsoe)rm Angels Aha! by Imogen Heap Metropolis Thrower, Tom Rarick by Douglas S. Asphalt Cocktail by John Mackey 74 2010 DCI Souvenir Yearbook

STAFF Executive Director David Glasgow Operations Director Genevieve Geisler Corps Manager Bill Hamilton Assistant Corps Manager Joe Beitman Strength & Conditioning Coordinator Frances Smith Drum Major Eric Humbert Story Design Michael Gray (program coordinator), Tim Fairbanks (visual designer), Dave Meikle (color guard designer), Andy Mroczek (color guard designer, choreographer), Doug Thrower (brass arranger), Tom Rarick (percussion arranger) Brass Dave Mackinnon (co-caption head), George Wozniak (co-caption head), Daniel Galloway, Bob Higgins, Trevor Braselton, James Freeman, Emery Craig, Lisa Tatum, Mark Nichols, Janelle Ewing, Sean McMahon Percussion Mike Jackson (caption head), Tim Jackson (battery coordinator), Brad Palmer (front ensemble coordinator), Kevin Shah (electronics specialist), Eric Shriver, Fernando Miller, Michael McKenna, Ryan Lamb, Ryan Kilgore, Craig Loeffler, Matt Hahn Color Guard Dave Meikle (caption head), Andy Mroczek (choreographer), Michael Rosales (choreographer), Kathy Pearson, Leigh Hadjis, Jonathan Meador, Jennifer Permer, Shane Cheatle, Doug Hooker Visual Ron Hardin (caption head), Brian Soules, Kevin Stahl, Chris Considine, Gino Hernandez, Justin Johnson, Michael Huebner, Tim Cole, Chris Cyr P.O. Box 2733 N. Canton OH 44720 330-433-9115 bluecoats.com “eawIvnh’edmradylrtomioelmkmlibaanengkryefiwonhsretwrhtaeer—hdbceuottropBtlshlee.au.rp—.eneDirocuynmpoogMluaeasjocro.taEmr.nicse.Htlumthefbiaehrnart Sgantmortaynibo’lotsueyts.” 75

boston crusaders ”Thy Kingdom Come!“ This year is Boston Crusaders’ 70th anniversary. Over the course of its storied past, the corps has been noted for daring innovation and raw emotion—and both play a role in Thy Kingdom Come! The presence of an empty throne is a unifying factor throughout, as we see the naked ambi- tion of those who would vie for this seat of absolute power. The corps marches toward the throne to the call of trumpets in an original fanfare by Jay Kennedy, leading into the raw blast of the second movement of Shostakovich’s Symphony No. 10, a demonstration of power and force that should intimidate those with lesser conviction to ascend to the realm. Plotting and strategy underlie the sinister “Planet Damnation,” while those who think they have a chance to become the new ruler attempt to gain an advantageous position. These pretenders romance the throne dur- ing the beautiful “Variation XIII” from Rachmaninoff’s Rhapsody on a Theme of Paganini. Finally, the regal character of Kennedy’s “The Quest for Glory” reveals the fate and destiny of the kingdom. 2010 REPERTOIRE Throne Procession and Fanfare by Jay Kennedy SObyypmD. mp9ih3tro,i nMSyhvoNts.toaI.Iko1v0icihn E Minor, Power Shift by Jay Kennedy Planet Damnation by John Psathas RPbyahgaSapernsgioendii,RyaOocphnm. a4anT3ih,nVeofamfrieatoiofn XVIII The Quest for Glory by Jay Kennedy 76 2010 DCI Souvenir Yearbook

STAFF Executive Director Tom Spataro Tour Directors John Simonyi, Suzanne Ferrell-Locke, Ashley Trudell (assistant) Drum Major Thompson Vou Design Jay Kennedy (program coordinator, brass arranger), Brian Murphy (visual coordinator, designer), Omar Carmenates (percussion arranger), Jerry Carpenter (percussion arranger), Matt Winans (color guard designer), Jerry Corradino (visual consultant) Brass Wayne Dillon (caption head), Beth Fabrizio, Joe Fussell, Jeremy Hackworth, Paula Hyman, Dennis Laorenza, Freddy Martin, Chad Pence, Jason Rinehart, Tom Ruby, Tom Santino, Frank Williams Percussion Omar Carmenates (caption head), Jerry Carpenter, Dennis Carty, Chad Heiny, Chauncey Holder, Brian Lange, Chris Lennox, Brian Nozny, Eric Peterson, Luis Rivera, Adrian Valderrama Color Guard Matt Winans (caption head), Kimberly Bolduc, Jason Ciesla, Sarah Cole, April Gilligan-Martinez, Brittany McMillan, Amy Naused, Lopez Reese, Paulo Tavares Visual Keith Bush (caption head), Miguel Adorno, Jason Bloom, Jon Diego, Eddy Falcon, Ray Fallon, Andrea Kofstad, James Lazaro, Chris Madaio, Jennifer Mammino, Paco Nunes, Paul Nye, Kristen Richard, Luis Rivera, Adriel Rodriguez, Matt Rusnak, Sandy Sanchez P.O. Box 51391 Boston, MA 02205 617-268-4600 bostoncrusaders.com “pemtCWaxehresimau’tsbtsrtea7eaerd0rnsebecryuoeseicf.!alhrdtiHsTihlohnidoegsrwfreoyetnfechafaoiorrfsoe’offsctlootwcrrhoomperespr‘s is that?” —Drum MajorThompsonVou 77

The cadets The Cadets uniform may be the most timeless in all of drum corps: For three quarters of a century, the maroon and gold—inspired by the uniform of the West Point cadets—has remained essentially unchanged. It’s also the impetus behind Toy Souldier, a glimpse into a young boy’s imagination. As a lone boy plays with his toy soldiers, he suddenly realizes that the wind-up toys have developed into real beings. The line between reality and imagination blur as trumpets herald the advancement of the military forc- es. The soldiers run around the battlefield and seem to threaten the boy, but due to his efforts to communicate with them, a truce is reached. Through the use of shakos, all soldiers come to life. But that escap- ism is short-lived and the soldiers return to their inanimate state. This allows the corps to recapture the field. In victory, the Cadets demon- strate the value of precision and teamwork in a blur of technique and speed that has become as much a trademark of the corps as the uniform itself. 2010 REPERTOIRE P(bfyrrooNcmiecosMlsaiiloaRndimao)sfkyth-KeorNsaokbovles Overture to School for Scandal, Op. 5 Barber by Samuel C(bfyhroiHlmdorweManr’desrHrDayanMsnocnoeunt Suite) D(bfyraonNmciceoTlaohifeRtihSmensokTywu-mKoMbrslaeaikrdosevn) M(fraormchBoafbtehse iTnoTyosyland) by Victor Herbert 78 2010 DCI Souvenir Yearbook

STAFF Corps Director George Hopkins Assistant Director Justin Heimbecker Administrative Team Melissa Babalonis, Eric Kitchenman, John Haney, Steven Henderson, Robyn Marshall, Tony Antonelli, David Holland Videographer Ryan Sartor Brass Gino Cipriani (supervisor), Jay Bocook (arranger), Steve Bentley, Sean Furilla, Jarrett Lipman, Larry Markiewicz, Robert Mattera, Chad Pence, Craig Walker Percussion Colin McNutt (arranger, supervisor), Iain Moyer (front ensemble arranger), Ian Grom, Gerry Miller, Jacob C. Gall, Thom Hannum, Jason Ihnat, James P. Ancona, Steve Kieffer, Andrew MacLeay, Bobby Marino, Sean McElroy, Jon Merritt, Matt Nadolny, James Sparling, Chris Vale Color Guard Daniel Riley (supervisor), Johnny Amos, Eric Babula, Dean Broadbent, Ronnie Bynum, JC Caceres, Katie Hopkins, Greg Lagola, April Martinez, Alex Perez, Emma Roberts, Michael Rosales, Traci Williams, Toni Sumner Visual Jeff Sacktig (drill designer), Aaron Barnes, Jason DeGroff, Patrick Duncan, Mike Fanning, Christopher Gow, Mark Maguire, Darryl Pemberton, Joe Roche 601 W. Hamilton St. Allentown, PA 18101 610-821-0345 yea.org/cadets TcdeehorxdemucbmgiCitacenedoeersadtpnsesed’lwseipimnirtesohgnpgtincrsra.uemotffItatthtnirisisasndayicsgetrua-iorrosenstaol the nation. —Drum Major Ben Pouncey 79

carolina crown ”A Second Chance“ What would you do if you had another shot at a decision you made, an opportunity you passed up, or a moment you let slide by? Would you go for it? How might choosing a different direction have brought you closer to your dreams? Carolina Crown explores these possibilities in A Second Chance, utiliz- ing the second symphonies of Mahler and Khatchaturian, “Danzon No. 2” by Marquez and a famous Elgar theme that hints at the second movement of a Beethoven piano sonata. Furthermore, many musical and visual moments are given second chances later in the show. After a pre-show setting of the Mahler, the Khachaturian demonstrates the challenges of making choices with reckless passion. The tango of the “Danzon” recalls decisions made under the influence of seduction: Perhaps a less impulsive choice would lend to a happier outcome. The Elgar offers the sense of contentment that comes with accepting one’s choices. Finally, Mahler’s reprise presents the definitive do-over, showing that if one accepts a second chance, redemption may be waiting. 2010 REPERTOIRE SbyymGupshtaovnMy aNhloe.r 2 SbyymArapmhoKnhyatNchoa.tu2rian Danzon No. 2 by Arturo Marquez N(frimomrodEnigma Variations) by Edward Elgar SbyymGupshtaovnMy aNhloe.r 2 80 2010 DCI Souvenir Yearbook

STAFF Executive Director Jim Coates Director Kevin Smith Tour Director Megh Healy Drum Majors Blake Daughtrey, Preston Cheek Design Jim Coates, Keith Potter, Michael Klesch, Leon May, Lee Beddis, Andrew Markworth, Michael Townsend, Adam Sage Brass Michael Klesch, Matt Harloff, Ray Linkous, Ben Harloff, Evan VanDoren, Corey Alvaro, Chad Brinkman, James Woody, Larry Shane, Bob Chreste, Ryan Summers, Joe Padawan Percussion Lee Beddis, Andrew Markworth, Zach Schlicher, Paul Loos, Mike Dow, Ian Hale, Steve Ballard, Mike Bishop Visual Leon May, Keith Potter, Andy Ebert, Neil Adkison, Nick Smith, Joe Eck, Sean Moran, Kelly Bishop, Daphne Adkison, Martin Montoya, Brent Schooley, Ben Firkus Color Guard Michael Townsend, Adam Sage, Angela Brickhouse, Matty Follo, Adam Dalton, Michael Floyd, Susan Hanggi, Joey Powell, Josh Dishner Consultants Jim Moore, Donnie VanDoren, Dean Westman Administration Anna Destajo, Maggie Peck, Ariana Pyburn, Rachael Heim 227A Main St. Ft. Mill, SC 29715 803-547-2270 carolinacrown.org “iaawOsnhudegrlnosonihwenotewguhlutoidnotfigtfteuohdrrennimfesslirooecmolaeukdtshteehsaiidsson summer!” —Drum Major Blake Daughtrey 81

cascades ”Silver Lining“ After being inactive the season before, 2009 was a successful rebuilding year for Cascades. No longer under a cloud, the opti- mism inspired by the corps’ renewed growth is reflected in this season’s Silver Lining. The tale commences in an attractive park, with everyone enjoying the beauty of a perfect day of sunshine and warmth. Suddenly, a violent, rag- ing storm forces all to run for shelter. Surely the day will be ruined: There will be no more picnicking, playing or relaxing! The devastating storm exhausts everyone and leaves in its wake a sense of despair for the loss of what had been a beautiful day. Unexpectedly, the sun burns at the edges of the departing clouds, revealing the silver lining behind the darkness. Hope soars, fueled by the life-affirming rays of the sun. It’s a reminder that difficult times are like the dark clouds lurking overhead. The sun may appear to be blocked, but if we look closely, we can see the light striving to break through the gloom. 2010 REPERTOIRE Cloudsplitter Fanfare by Jack Stamp AbyllVeagcrloavINmeplheytbueol so River Flows In You by Yiruma Hope Awakes by Josh Hinkel Tboy mChoarrrleoswStrouse 82 2010 DCI Souvenir Yearbook

STAFF Corps Director, CFO Sal Leone Assistant Director, COO Ron Comfort Drum Majors Patrick Beare, Bennie Hodder Design Mike Leone (program coordinator), Kurt Jull (design coordinator, drill designer), Josh Hinkel (brass arranger), Chris Grant (battery arranger), Brian Mudgett (front ensemble arranger), Ben Adams (choreography), Sal Leone, Ron Comfort Brass James Wilson (caption head), Steve Menefee (caption head), Nick Calza, Jeremy Permen, Zach Smith, Tim Ziess, Adam Daniel, Chris Buttars Percussion Ronnie LaGrone (caption head), Shawn Anderson, Matt Little, Ricky Martinez, Nick Molenda, Sean Schwartz, Shealley Gumiran, Chris Koenig Color Guard Ben Adams (caption head), Nick Bledsoe, Ricardo Alexander, John Trueman, Lauren Waite Visual John Freeman (caption head), Dan Cornett, Jordan Conger, Jen Freeman, Lorenzo Leon-Guerrero, Jeremy Kelley, Michael Kirkbride, Jeremy Permen, Jeff Paradis PMB 107, 14241 NE Woodinville Duvall Rd. Woodinville, WA 98072 seattlecascades.org “rIssgWuuubenrrme’npmolrireienwiregshnvieitesthaawtihuhisondanwidstgeemnwtaumcihsceleohaslngtwtmr.uehoo.isur.’stnevdde as musicians and as a team.“ —Drum Major Patrick Beare 83

the cavaliers ”Mad World“ I f you feel just a little outraged while watching and listening to the sur- real lunacy of Mad World, you’ll know that the Cavaliers have hit the bullseye. The program shakes the senses from the outset with relentless rhythms; that feeling is amplified by the movement’s frenetic pace—and the visual domination of rifles as tools of mass hostility. “We all live in a Mad World,” says Program Coordinator Scott Koter. “In some cases, ‘mad’ can mean aggressive. In some cases ‘mad’ can be strange and in some cases, it just means against the norm.” Following the ferocity of “Harrison’s Dream,” the haunting ballad of “Mad World” takes an introspective look at the madness that surrounds us every day. “Dismantling Utopia” bursts open with a wild series of musi- cal twists, underscored by dark and haunting electronica, and peels back the many layers of madness while featuring drums that are quite out of the ordinary. Charlie Chaplin’s “Smile” juxtaposes serene beauty against the violence that fills contemporary life, reminding us that we live in a mad world, and that we can either fight that reality or embrace it. 2010 REPERTOIRE MbyaRdolWanodrOldrzabal Harrison’s Dream by Peter Graham Dismantling Utopia by Pat Metheny Smile Chaplin by Charlie 84 2010 DCI Souvenir Yearbook

STAFF Director Adolph DeGrauwe Drum Major Brandon Cave Guard Sergeant Benjamin Ash Program Coordinator Scott Koter Brass Drew Shanefield (designer), Scott-Lee Atchison (caption head), Kyle Adelmann, Matthew Banks, Nate Holland, Fuller Lyon, Joe Musick, Ed Roush, Taylor Smith, Jayme Taylor, Jon Virtue Percussion Michael McIntosh (designer), Erik Johnson (designer), Brian Tinkel (caption head), Nick Beaudet, John Brennan, Adam Clay, Alex Entin, Carl Eppler, Nathan Langford, Tim Maynard, Tom McGillen, Alan Miller, Rob Pastor, Eric Ridenour Color Guard Andrew Toth (designer, caption head), Tommy Allen (designer), Bart Woodley (designer), Sheldon Apo, George Furlipa, Brady Sanders, Travis Speice, Raphael Warner, Christopher Wray Visual Michael Gaines (designer), Matt Heard (co-caption head), Jud Merritt (co-caption head), Alan Chrzanowski, Ivan De La Cruz, Steven Estudillo, James Harmon, Kris Quaale, Jeremy Seneca, Eric Shannon, Chris Tavano, Taylor Townsend, Jordan Warfield Tour Management Mark Ackerson (director), Rick Lunn, Joe Paul, Diane King, Danny Lopez P.O. Box 501 Rosemont, IL 60018 847-685-8412 cavaliers.org “ewcitTnofioheafbtrreiwhpehacsiitvslieehtaer.hiynca—IestDstrrtpuImtheyiaMichaineiajnonkarvaBtlelrtarneehsndv’oiuonnesmtCslsamviseeioserfet.gn”oying 85

colts ”True Colors“ Isee your true colors shining through…So don’t be afraid to let them show…True colors are beautiful, like a rainbow.” Those words are from Cyndi Lauper’s 1986 No.1 hit (written by Billy Steinberg and Tom Kelly), and they form the basis of True Colors, the Colts’ celebration of the human spirit. “Green” from Color Music explores that spirit’s playful energy and childlike sense of discovery, punctuated by spontaneous jazz rhythms and luminous orchestral timbres. “Alone in the Crowd” and “One Man Show” (from the film score to Pollock) capture the chaotic power of the artist’s drip paintings, expressing color for color’s sake. The show’s title song highlights the special and distinctive gifts that each of us offers to the world. It’s followed by the classi- cal/bluegrass Americana of Paul Halley’s “Appalachian Morning.” Ultimately, we see that it is by experiencing many shades and hues that we find our own true colors. 2010 REPERTOIRE Green by Michael Torke Alone PinolaloCckro) wd (from by Jeff Beal O(frnoemMPaonlloSchko) w by Jeff Beal TbryuTehoCmoalos rKselley, William Steinberg Appalachian Morning by Paul Halley 86 2010 DCI Souvenir Yearbook

“awtItoh'mtrieiksxtceciuttodehdreipabacson.uotdTfhtehe STAFF mhmfeuaemnkebgeterfrayasttnaeosraesecnthetaxaentnrdrdtoeaenmiventelhrayeynidr Executive Director show.” —Drum Major Ryan Brooks Greg Orwoll Drum Major Ryan Brooks Design Bret Kuhn (program coordinator), Chris Tomsa (brass arranger), Max Mullinix (percussion arranger), Carla Burgess-Tomsa (color guard), Jonathan Colvin (color guard), Rory Duffy (color guard), Matthew Humphrey (color guard), Randy Nelson (drill designer) Brass Dr. Raymond Vasquez (caption head), Mike Bolla, Lauren Cobb, Rance Costa, Joe Falcon, Bobby Frey, Megan Ivers, Matthew Kettelhut, Laura Leary, Scott Palmer, Dan Ritacco, Jon Schultz, Carlos Solis, Timothy Kiefer (intern) Percussion Max Mullinix (caption head), Andres Aya (assistant caption head), Eric Brown, Diaz Clark, Justin Coughlin, Mike Leitzke, Chris Ozley, Huei-Yan Pan (front ensemble supervisor), Joe Shuker (battery coordinator), Tom Tucker (consultant), Greg Abell (intern) Thien Quoc Pham-Tran (intern) Color Guard Carla Burgess- Tomsa (caption head), Jeff Choice, Robby Saner, Ashley Studer, Charles Williams, Alex Stelken (intern) Visual Stephanie Furniss (caption head), Mat Becker, Jon Cordell, Drew Gregorczyk, Joe Hamlin, Steve Hopkins, Peter Inglett, Ishmael Ledezma, Armando Martinez, Mathew Tomsa, Beth Wilson, Keenan Cox (intern) Administration Mike Grimes (operations director), Vicki Schaffer (youth programs director), Jeff MacFarlane (controller, designer), Ray Morgan (tour director, souvenir program), Alex Giddings (tour assistant), Eric Rochman (tour assistant), Tom Hannan (administrative assistant) Key Volunteers Bill Symoniak (volunteer coordinator), Jim Hauser (volunteer coordinator), Lori Connolly (food program coordinator), Julie Chase (uniforms), Mary Keller (uniforms), Jeanne and John Scott (flag production), Randy Eichhorn (board president), Peggy Francomb (booster club president), Dave King (fleet manager), Frank Pierce (off- season transportation), Ray McGiveron (lead driver) P.O. Box 515 Dubuque, IA 52004 563.582.4872 colts.org 87

crossmen ”Full Circle“ C rossmen are no strangers to the music of modern jazz masters Pat Metheny and Lyle Mays. The works of the two collaborators have underscored some of the corps’ most memorable shows and provide a soundtrack for the group’s ongoing evolution. Full Circle pays homage to the legendary Crossmen of yesterday while providing a peek into the corps’ future. As this generation puts its own stamp on the dynamic and inspiring work of Metheny and Mays, we hear those tunes we know so well come to life all over again. “Heat of the Day” opens the show with a brisk dash through a number of time signatures, but that heat quickly chills with the refreshing cool jazz of “Minuano (Six-Eight),” named after the cold wind in Brazil and reflecting a heavy dose of Latin rhythmic percussion styles. The delicate lullaby “Letter from Home, conveys the poignancy of reminiscence. Finally, “The First Circle” takes flight and seems to just keep coming toward the stands, its robust rhythmic energy getting stronger as the ring widens. 2010 REPERTOIRE HbyePaattoMfetthheenDy, aLyyle Mays MbyinPautaMneoth(Senixy-,ELiyglehMt) ays LbyetPtaetrMfreothmenHy,oLmyleeMays TbyhePaFt iMrsetthCeinryc,leLyle Mays 88 2010 DCI Souvenir Yearbook

“gwmahanTrikdohciohnueugiprsovsuiaiurmskbsmeheetyoreweoalrceflormimeifetneftha-illeiiocnvn‚eg STAFF memory!” —Drum Major Mike Roche Executive Director Fred Morrison Corps Director Mark Chambers Corps Operations Maureen Morrison, Denise Troyer Program Coordinator Jaime Alvarez-Calderon Tour Director Joseph Banegas Assistant Tour Directors Evan Woods, Audrey Driscoll Tour Assistants Philip Flynn, Rico Gomez, Ernesto Lopez, Evan Fletcher Merchandise Manager Taylor Jenkins Trainer Ruth Ann Aragon Transportation Scott Wheeler, Mike Lenox Volunteer Coordinator Evan Woods Consultant Gary Cuzzocrea Graphic Design & Marketing Michele Williams Drum Major Michael Roche Design Wes Cartwright (program designer), Leon May (visual designer), Aaron Guidry (music designer), Michael McIntosh (consultant), Carol Chambers (brass arranger), Ray Ulibarri (percussion designer), Tom McGillen (front ensemble, electronic designer) Brass Aaron Goldberg (caption head), Paul Bessetti, Adrian Gomez, Alison Farley, Kara Hoeflinger, Adam Farley, Chris Hansen, Gary Barnard, Nick Kornegay, Al Chez (consultant), Beth Bronk (consultant), Brian Gibbs (consultant) Percussion Chad Schaedler (co-caption head), Chris Sakowski (co-caption head), John Brennan (consultant), Jason Pena, Adam Wiencken, Ben Pyles, Kent Lineberry, Adam Bruce, Drake Melson, Jack Borland, Lauren Sakowski, Nathan Ratliff, Matthew “Smitty” Smith Color Guard Wes Cartwright (advisor), Mykail Costner (designer), Kayla Rhidenour, John Edders, Morgan Brockman, Masahiro Kajiwara, Brandon Givens Visual Aaron Bailey (caption head), Erik Birch, Dustin Del Moro, Lee Falvey, Tony Ruiz, Andy Soloman, Eric Suedmeyer, Tyler Woods, Justin Alvis P.O. Box 591940 San Antonio, TX 78259 210-860-8228 crossmen.org 89

glassmen ”The Prayer Cycle“ Many religious thinkers believe that prayer becomes more power- ful when it’s set to music. In The Prayer Cycle, Glassmen seeks to explore the emotions one encounters on the path toward understanding faith through prayer. The music evokes the defining moments along a spiritual journey. Act 1: Mercy, begins in a state of profound awe, respect and love. The daily rituals of service and devotion give way to questions—a struggle to understand concepts beyond our grasp and find tolerance for the beliefs of others. The inner conflict subsides in Act 2: Hope, which shows how the path toward spiritual enlightenment can be illuminated when we feel our most vulnerable and alone. Through the strength and compassion of community, a stronger foundation of spiritual resolve builds. The cornerstone of the journey is found in Act 3: Faith. Finding a greater power beyond our reach conquers fears and doubt, and provides sure footing on the path to spiritual understanding. 2010 REPERTOIRE AS(bMycCeJeTonrnce1ay:t1hMfra-onERmREelCivTaYeshreanPcreayer Cycle) S(NPcareiqmnoeaycq2ya-tosRfi)iNtuuaml ber from by Philip Glass S(bTyceeJramnmeine3salM-) C. Doonoflleicyt A(bfyrcotJmo2n:aTHthhOaenPPEErlaiayser Cycle) AS(aEnccpetdinp3Ceh:haF1onAri-eaITDlseH,osFu) abntfares by Ron Nelson S(fWrcoeemn’reeTh2Jeu- nLDgieolevnoCitniroeWnatiunrteesr) by John Barry 90 2010 DCI Souvenir Yearbook

STAFF Executive Director Brian Hickman Office Manager Janet Ankenbrandt Tour Managers Mike Helfen, Michael McGreevy, Chris Martin Drum Majors Wyatt Mullins, Josh Jameson Design Sal Salas (program coordinator), Joe Heininger (program, color guard designer), Don Hill (brass arranger), Pete Weber (visual designer), Rob Ferguson (percussion arranger) Brass Keith Hallas (coordinator), Tom Lizotte, Sarah Roth, Laura Lewis, James Blankenship, Adrian Martinez, Shane Harris, Mickey Stisher, Tom Lukowicz, Rob Cintron, Frank Williams Percussion Rob Ferguson (percussion coordinator), Eric Hubbell, Casey O’Neal, Julian Goldthwaite, Rick Wilkerson, Eric Carraway, Brian Fronzaglia, Cory Doran, Andy Wozniak, Maureen Longo, Carl Souchek Color Guard Roman Montoya (color guard coordinator), Jessica Francis, Michael Zablocki, Amanda Bixler Visual Gilles Ouellette (visual coordinator), Jason Palmer, Chris Jacobs, Noel Navejas, Chris Brown, Ashley Wright, Pat Miller, Justin Presley, Ryan Weber P.O. Box 352080 Toledo, Ohio 43635 419-698-9775 glassmen.org “mtaccgbYaarhlteonnoosyetr'uwttpmripphefieetsemusobu.lupeidlnldreyiIessfeftdiao’aenawrsrtsiamectayo‚nret.gislh”eotbtyewa—eahllDs‚frouaifmtbomhsMuakeaatni‚jotdrntWbgIyhuatittt Msoullins 91

Jersey Surf ”Living the Dream“ O n its 20th anniversary of its founding, Jersey Surf is Living the Dream by celebrating America in all its red, white, and blue glory. The show is set the mythical community of “Anytown, USA.” Think Andy Griffith’s Mayberry and Thornton Wilder’s “Our Town” rolled into one. Charles Ives wrote Variations on America for pipe organ when he was 18 years old. Full of humor and good cheer, the original version is stuffed with elements one wouldn’t expect to find in a patriotic tune, including a march, a polonaise, a ragtime and a bitonal section performed in two dif- ferent keys simultaneously. Samuel Ward’s “America the Beautiful” is generally known as a calm and reflective piece, but in the hands of Ray Charles, it became a soulful blues and gospel tribute unlike any other prior treatment of a patriotic work. The grand finale is Dudley Buck’s 1887 Festival Overture on a National Air, weaving complex segments of “The Star Spangled Banner” into a patriotic fantasy some 44 years before the tune became established as the national anthem. 2010 REPERTOIRE Variations on America by Charles Ives America the Beautiful by Samuel Ward FoensativNaal tOiovnearltuArier by Dudley Buck 92 2010 DCI Souvenir Yearbook

surprises“fSatTuuhhfnriie‚fnswkiwsnaehyvto.ehw—reBCyieotolsorrnoGguaenaorddwtiCiaihnpttleagiinloSlttneeopoahtnoalnhbjkieaeoBoJrtoyueapd!trIbu”esrltfeeoyr STAFF Executive Director Robert Jacobs Director of Operations Brian Prato Assistant Director Telly Ousouljoglou Program/Staff Coordinator Frederick Ford Business Manager Marty Fricke Educational Consultant Tim Bartholomew Corps Psychologist Dr. Jacob Levy Drum Majors Alison Baier, Shaquille Millington Color Guard Captain Stephanie Broadbelt Design Frederick Ford (program coordinator), Scott Slutter (brass arranger), Richard Hammond (percussion arranger), Michael Zellers (front ensemble arranger), Edward Devlin (visual designer), Richard Kim (color guard designer) Brass Gino Cipriani (director of brass education), Kyle Fleming (caption head), Randy Rumpf, Selena Adams, James Crowley, Cameron Baker, Randy Isoda (consultant) Percussion Robert Cizmarek (caption head), Ryan Donnelly, Jeff Bickford, Patrick Zearfoss, Joseph Bergen, Erin O’Dore, Kelly Howell, Robert Grassie, Andrew Veit, John Trujillo (consultant) Color Guard Matthew Hurley (caption head), Danielle Dilks, Kelly Laessig, Ray Okuda, Cynthia Wong Visual Christopher Vitale (caption head), Trevor Sindorf, Eileen Althouse, Alex Casimiro, Gary English, Mark Figueroa, Thomas Strachen, Jamie Tucker, James Wysoczanski Volunteer Coordinator Terri Ives Tour Operations Team Lois Fricke, Beverly & Ted Vallies, Naomi & Tom Piatek, Geoff Thompson, Harold Jones, Mike Davis, Bill Ives, Carrie & Bunky Burlingame, Lou Sarlo, Sue Cain, Sue & Rich Caschera 34 Mill Street, Suite E Mount Holly, NJ 08060 856-753-3786 jerseysurf.org 93

Madison Scouts The adage “everything old is new again” is most appropriate for this year’s Madison Scouts show, titled…well, there is no title. Harkening back to the type of music and production that brought the corps so much fame in the 1970s, the two works in the show are familiar to long-time fans and drum corps historians. Iconic to the Scouts, each work gives the brass plenty of opportunities to unleash major blasts of power. “Slaughter on Tenth Avenue” is the most enduring piece from Rodgers and Hart’s On Your Toes, a 1936 Broadway musical that became a Hollywood movie. “Rhapsody in Blue” is George Gershwin’s greatest hit. Madison has gone back to these classic works a few times over the years, but most significantly, both were in the Scouts’ first Drum Corps International Championship-winning show of 1975. Thirty five years later, that show inspires a new generation. 2010 REPERTOIRE SbylaRuigchhatredrRoondgTeerns th Avenue RbyhGapeosrogdeyGienrsBhwluine 94 2010 DCI Souvenir Yearbook

STAFF Executive Director Chris Komnick Artistic Director James Mason Corps Director Dann Petersen Drum Majors John Lee, Derek Weidenthal Design James Prime (brass arranger), Thom Hannum (percussion arranger, consultant), James Ancona (front ensemble arranger), Jim Moore (choreographer), Jon Vanderkolff (visual designer) Brass Donnie VanDoren (caption supervisor), Brad Green (caption head), Jason Robb, Amy Frost, Alex Brough, Tim Snyder, Jay Hagy, Dr. Nick Williams (consultant), Marc Whitlock (consultant), Jordan Walker (intern), Scott Oliver (intern) Percussion James Ancona (caption supervisor), Nick Angelis (caption head), Jeff Lee (front ensemble caption head, electronics arranger), Brian Perez (assistant caption head), Tim Heasley (sound engineer), Jake Harpster, Sharif Mamoun, Oliver Rodriguez, Herschel Wilde, Chris Theo (consultant) Color Guard Rosie Queen (caption supervisor), Bryan Sutton (caption head), Kaysey Thompson, Mike Novak, Charlie Gumbert (consultant) Visual Bob Medworth (caption supervisor), Wesley Bullock (caption head), Jean Heasley, Curt Koehler, Matt Wisley, Jeff Cleveland, Aaron Wells, Brandt Murphy, Pat Butler (consultant), Whitney Medworth (intern), Joe Rush (intern) 2935 S. Fish Hatchery Rd. #401 Madison, WI 53711 816-835-9208 madisonscouts.org Wtceehnaaowtnuogrthkghoooefurtnahtueuaiitdrlssie—xeoc—fnwiDfretucmseceMomaaejnonr’Jtot.hn get Lee 95

mandarins ”To Dream of Far Away Lands“ Extending 4,000 miles from the Mediterranean through Arabia and Persia and on to India, China and Indonesia, the Silk Road blazed a path of discovery and commerce for almost 3,000 years. No explorer along this route became more famous than the one chronicled in The Travels of Marco Polo, written in the late 13 century and covering 24 years of travels. In To Dream of Far Away Lands, Mandarins capture the wonder instilled in readers as they soaked up the poetic images of the exotic locales. “The Caravan” lays out the great expansiveness of the journey, fraught with unknown perils. “To Dream of Far Away Lands“ depicts the anticipation and expectations of what may be found along the way. “The Himalayas/The Threat of Mongols” portrays the voyagers fighting against both the rugged terrain and attacking hoards. “Discovering India” celebrates the merriment of the South Asian subcontinent, delivered in festive Bollywood fashion. After years of journey, “Arrival in China” rejoices in reaching the long sought-after destination, fulfilling the dream. 2010 REPERTOIRE IMb.yTeRheaetviinCSgahsraanAvklaaornn, PghitlhipeGEladsgse ITFI.hloTewoMeDrorseuanmtainofoFf aFrruAitwaanydLands by David Buckley IHSbIIyai.mmTShhauievldakTryuahmaMrsaeraaSnthtaohrfmanMa ongols / The IV. Discovering India Quiet by Sheila Chandra Ever So Lonely by Monsoon VA.mAbrruisvhalfrinomChTeinnaSides by Yo-Yo Ma 96 2010 DCI Souvenir Yearbook

STAFF Executive Director Raymond Mar Director Jim Tabuchi Tour Manager Diane Ogata Staff Coordinator Ron Munekawa Drum Majors Chris Honda, Boyce Jeffries Design Greg Mar (program coordinator), Myron Rosander (visual, drill designer), Brian Mar (visual coordinator), George Armenta (color guard designer), Dan Fong (brass arranger), Wayne Downey (music consultant), Tony Nunez (percussion arranger), Pancho Torres (color guard), Mindy Cobb (color guard) Brass Robert Soto (caption head), Adam Fernandez, Daniel P. Fernandez, Juan Gallegos, Milt Gee, Michael Jimenez, Robert Murray, Louie Sosa Percussion Tom Linder (caption head), Eric Melson, Paul Curci, Sean Gordon, Richard LeGerrette, Josh Luedtke, Gary Smith, Ronald Louis Valles, Les Wong Color Guard George Armenta (caption head), Jennifer Chin, Jhay DeLos Reyes, Jacquelyn Wong Visual Ron Munekawa (caption head), Chris Baudino, Chris Huebschle, Santiago Sabado, Michelle Yamazaki, Vinnie Giarrusso, Joel Ducore Strength & Conditioning Consultant Chris DaPrato P.O. Box 22297 Sacramento, CA 95822 916-395-8310 mandarins.org “ncoiwTeoiuhnxrditprtessse.vptfanreTroophsigeceiritnauatyumtsdyohri‚feeeapnaesdrcrveetworsielweisuisnttvlhtiilosecownftcahaeoesfneedtlahe cultures.”—Drum Major Chris Honda 97

Pacific Crest ”Maze“ There are times when the demands of modern existence have us feeling like lab mice scurrying through one dead-end hallway after another, no matter how old we are. This sensation inspires Maze, a series of four tableaus about experiencing the twists and turns of 21st century life. To a youngster, life may seem like a game of Paper Chase. To an adult, life may seem more like a Rat Race labyrinth. Whether young or old, the maze always starts out with the players thinking, “We’re off! This is Going to be Easy!” The path looks clear, but either the “Traps and Walls” begin to close in, or our hard work results in little satisfaction. What if there’s “No Way Out?” But determination keeps hope alive. The mission is completed and we shout “We Made It!” Maybe getting out of the maze is as simple as arriv- ing home after a tedious commute. Sometimes, if we're lucky, there’s a treat at the end of the journey. Every so often the mouse gets the cheese, and sometimes, “X” really does mark the spot. 2010 REPERTOIRE ItMb.oyWaSbceaec’trhoEesuhaoiPsYfyifac!!gcTihshauwisa is Going II. Traps and Walls Asphalt Cocktail by John Mackey IS(bIfIyar.omJNma’mos IeWGsAoaNmnyeewLOteougnteHnodw)ard IV. We Made It! Turbine by John Mackey 98 2010 DCI Souvenir Yearbook