Drum Corps International 2011 Yearbook

OPEN armsBY MIKE LEVINE WHERE WILL YOU FIND Drum Corps DCI’s Open Class embraces a diverse array International’s longest existing of groups, welcoming new members and corps? How about its newest? Try DCI’s fans by producing great entertainment Open Class—a diverse collection and friendly—but fierce—competition. of organizations that includes the Racine Scouts (founded in 1927) as Racine Scouts well as units born in the 21st Century. Open Class groups come from all four corners of the U.S. You’ll find corps from small town America, major urban centers, and a couple from Canada. There’s even a group representing the capital of country music. The 2011 World Championship Prelims on August 11 will mark the first time in nearly a decade that this diverse array of corps will be able to compete head-to-head with their World Class counterparts. And while all eyes may be on the judges’ score sheets to see how Open Class units will fare against their larger brethren, there are plenty of other opportunities throughout the sea- son to experience the sights and sounds of a division that’s known for combining a nurturing environ- ment with incredible entertainment value. Whether you’re talking about the touring corps stepping onto the Lucas Oil Stadium turf or the small- er units performing closer to home, Drum Corps International’s Open Class is well named: It offers mem- bers and fans alike an open door to the drum corps experience. 49

PARTICIPANT FRIENDLY how a business with a staff of three Open and World Class corps are alike in will have very different dynamics many ways. Both follow the same rules for repertoire, show length, age requirements, than one with 50, in terms of both and instrumentation. Both are filled with talented members under the leadership of talented staffs. employee relationships and infra- The main differences are in the size of the groups and the experience of their respective members. On average, Open structure,” Sodawalla adds. Class groups have more high school kids than you’re likely to find in World Class, which tends to cater to college stu- This smaller corps size can dents—though many college-aged musicians also choose to march in Open Class. “Open Class usually attracts people impact the type of recruits in Open who are newer to the activity,” says Spartans director Rich Rigolini. “It’s definitely a stronger training ground for kids to Class corps. “We find ourselves promote to the World Class.” While it may be easier for a less experienced marcher to training more members, rather join an Open Class corps, there is no shortage of challenges for musicians and guard members. As in World Class, mem- than having people that are already bers must pass an audition to be accepted. Once they’re in, however, they often come away with an encouraging learn- proficient at their specific instru- ing experience. Because the groups are smaller, Open Class members often find that they get more one-on-one instruc- ment,” Sodawalla observes. “We tion in the basics. “Last year, our average Open Class corps size was 65,” says Legends director, Ibe Sodawalla.This con- may have beginning college music trasts with World Class, where corps are frequently on the north side of 100 members, and often have a lot more (150 majors [without marching experi- is the max allowed for corps in either class). “It’s similar to ence] as well as folks who have ”This isn’t an Spartans never really picked up much musi- easy activity, cal training and background.” and the desire to be your Another big advantage to partici- best always pating in Open Class is being able comes with a to march close to home without little pressure committing your entire late spring attached.” and summer. “Open class corps have limited touring and limited weekday rehearsals, which can allow people to work during the summer in addition to having a drum corps experience,” says Key Poulan brass arranger for the World Class Santa Clara Vanguard and the Open Class Vanguard Cadets. “Many members need to work during the summer to raise money for school.” Typically, World Class corps require their mem- bers to “move in” in the middle of May, and devote virtually all of their time to the corps through the World Championships in mid August. This also includes extensive time spent out of town on tour. The later start and less intensive travel makes Open Class especially attractive to high school kids, since they don’t usually finish their studies until sometime in June. There’s also a financial advantage to Open Class participation. Because it requires so much less time and travel than World Class, fees are typically lower. And for those who do want to march in a World Class group down the road, Open Class experience can help. “The Open Class is a perfect place for per- formers to develop and improve the fundamental 50 2011 DCI Souvenir Yearbook

Music City skills needed to perform in the World Class,” Poulan says. just bowl you over. So they’re very resourceful and creative Yet while the members’ time commitment may not be as in the way that they design their shows. A lot of the Open Class people will tell you, ‘We’re trying to go for that more great, Open Class competition can still get the heart pump- visceral [material], get them out of their seats, make them ing, especially for groups in title contention. “In many cases, excited about our program.’” I believe the staff has to work extra hard to make sure every second is utilized to the highest degree,” says Poulan, who World Class corps sometimes choose complex and even helped the Vanguard Cadets win a silver medal in 2009. “I obscure material in order to show off their skills. In Open also think the musicians face pressure to perform well. This Class, with less time to practice and fewer marchers, the isn’t an easy activity, and the desire to be your best always corps are more likely to lean on the familiar. “It doesn’t comes with a little pressure attached.” make sense to get out there with 50 or 60 kids and play something that nobody knows,” Turner says. “And they’re IN THE STANDS not going to necessarily try to do something that’s two or three steps over their heads, just to [show off] from a diffi- Maybe it’s the intensity that comes from being in a smaller culty perspective.They’re going to do things that are in their sweet spot, so that they can display their abilities rather than unit, or the enthusiasm that people who are developing inabilities.” their drum corps skills feel when they step on the field, but The groups themselves are as diverse whatever the reason, Open Class shows as their memberships. Four Open Class corps—Blue Devils B and C, Colt Cadets, always seem to strike a chord with fans. and Vanguard Cadets—are directly affiliated with World Class groups, but “They spend more time in the front half most are independent organizations. And while some members, and even of the field, and more towards the cen- groups, do switch classes, Eddleman points out that the Open Class is not ter. I think their shows have traditionally really a feeder organization. “Some Open Class corps might be equivalent been more audience oriented,” says John to a AAA baseball team,” Eddleman says. “But, there are some really hot players Turner, Drum Corps International’s Open Class judge administrator. This attitude can impact the repertoire and show design. “Open Class program- mers are putting together some very clever ideas,” says DCI’s Open Class coor- dinator Dave Eddleman. “They know Gold they don’t have the power of 70 brass to 51

on that AAA Buffalo experience, those groups will be team. And there are highly competitive. So it will be some really hot play- really exciting on Thursday [Aug ers and performers 11.], to throw those top Open Class in those Open Class corps.” Open Class Coordinator groups in with the World Class Rather than the major league/ Dave Eddlman (left) with Quarterfinalists and see how they Vanguard Cadets at the all mix. It will be the first time that minor league analogy, Sodawalla 2009 World Championships likens the two classes to NASCAR. “You’ve got two different those Open Class corps will be actually judged on a World cups: the Sprint Cup and the Nextel Cup,” he says. “One set Class score sheet. It could be very exciting.” of drivers is definitely what you would perceive as the pre- Poulan adds you only have to look at history to know that mier drivers. But then you have this second series that have Open Class corps can match—and even beat—their larger really great drivers, still with really cool cars, and still on the brethren. “The Magic of Orlando were in the old Division II at same raceways and doing the same things.” the time, but they made the Division I Finals in 2002,” Poulan Either way you look at it, Eddleman says, Open ”Every year recalls. “That was an amazing feat! The Open Class offers plenty of opportunities for outstand- they’re better, Class can be competitive if their performanc- ing performers to shine. “An Open Class corps and every year es are on par with World Class standards.” might have a dozen or so older kids who are really more people accomplished players and guard members,” he come to check For a listing of all Open Class corps with explains. “And while there may not be as many them out.” contact information, visit DCI.org/corps. players at the level you’d find in a top World Class group like the Blue Devils, they’re still performing at a very high level of achievement—and the end result can be just as satisfying.” LEVEL PLAYING FIELD Legends So, what will happen when the two divisions meet on the field? As a judge, Turner has seen the quality of Open Class competition rise to a new level. “The groups that come out year after year, I’ve seen an increase not only in their individual skills, but also the design quality of the shows,” he says. “And that translates into a growing audience. Especially when we get to the World Championships. It’s been a consistent rise over the last three or four seasons: Every year they’re better, and every year more people come to check them out.” When the new format was announced for the 2011 season, it set many fans buzzing. Can an Open Class corps actually beat a World Class unit on the field? “There are four or five Open Class corps that are perennially at the top of our heap,” says Eddleman. “I don’t want to forecast where they’re going to be [this year]. But based on past 52 2011 DCI Souvenir Yearbook



BY MICHAEL BOO 54 2011 DCI Souvenir Yearbook

As Drum Corps International’s World Championships turn 40, here’s a look at super moments past and present. 55

1972 1972: THE WHITEWATERS 1975: CLASS RAINED DOWN DIVISIONS WHITEWATER, WISCONSIN Anaheim Kingsmen For the first three years of 88.100 Open Class topped 38 other corps to its existence, all DCI corps Kingsmen win the first DCI World competed in a single division Anaheim, CA Championship.They called Open Class. In 1975, two learned this from the more were created; the coed 1973 shelter of their bus after A-Class and All Girl Class (the a ferocious thunderstorm latter disappeared in 1983). In WHITEWATER, WISCONSIN chased fans and corps 1985, a third division, the A-60 from the stadium while Class, was added for groups of 88.650 Open Class the scores were being 60 members or fewer. In 1992, Santa Clara Vanguard announced. Open Class became Division I, Santa Clara, CA while A-Class and A-60 Class Anaheim Kingsmen became known as Divisions 1974 II & III, respectively. In 2008, DCI streamlined the divisions ITHACA, NEWYORK into two groups: Today’s Open Class is a consolidation of Div. 89.300 Open Class II & III; the current World Class Santa Clara Vanguard is the heir to the old Division Santa Clara, CA I (which followed the original Open Class). Confusing, we 1975 know. We’ll keep things simple by naming the classes as they PHILADELPHIA, were called at the time of the PENNSYLVANIA event in question. 92.500 Open Class Bengal Lancers Madison Scouts Madison, WI 71.350 A-Class Greece Cadets Rochester, NY 69.650 All Girl St. Ignatius Hicksville, NY 1976 PHILADELPHIA, PENNSYLVANIA 92.700 Open Class Blue Devils Concord, CA 76.200 A-Class Wausau Story Wausau, WI 71.300 All Girl 1973-1974: EXTREME St. Ignatius RULES MAKEOVER Hicksville, NY Santa Clara Vanguard won two consecutive titles 1977 as DCI member corps directors voted in the first of a series of new rules that would give show design- DENVER, COLORADO ers more creative freedom. Mallet instruments, bugle mutes, and the grounding of color guard 92.050 Open Class equipment were newly legalized; the latter allowed Blue Devils the guard to bring innovative dance techniques to Concord, CA the field. As a result, color guard design and per- formance would play a larger role in drum corps’ 74.200 A-Class entertainment value—and in the final score. Bengal Lancers Trumbull, CT 69.450 All Girl St. Ignatius Hicksville, NY 1978 1976: TWO GOOD, EH? DENVER, COLORADO In 1976, Toronto, Canada became the only city to ever place two corps—Oakland Crusaders and Seneca 91.550 Open Class Optimists—into the Open Class Finals at the same Santa Clara Vanguard time. In 1977, Optimists unveiled a parachute, one Santa Clara, CA of DCI’s most memorable visual effects. Blue Devils won the title both seasons. 69.350 A-Class Black Watch Auburn, WA 71.350 All Girl Les Chatelaines Laval, QC Seneca Optimists 56 2011 DCI Souvenir Yearbook

Blue Devils 1979 BIRMINGHAM, ALABAMA 93.550 Open Class Blue Devils Concord, CA 65.000 A-Class Black Watch Willingboro, NJ 67.350 All Girl Arbella Salem, MA 1980 BIRMINGHAM, ALABAMA 90.600 Open Class Blue Devils Concord, CA 64.350 A-Class Ventures Kitchener, ON V 64.350 All Girl Ventures 1980: DRILL, BABY, DRILL Kitchener, ON In DCI’s earliest years, drills were conventionally symmetrical: Like a parade, corps 1981 started to the left and ended to the right. Curvilinear forms came into vogue in the mid-1970s and drills were allowed to start and end anywhere on the field. In 1980, MONTREAL, QUEBEC Santa Clara Vanguard popularized asymmetrical drill and in 1983, Garfield Cadets squiggled their way into the hearts of fans with radical “flex” drill designs, winning 94.000 Open Class their first DCI-era title in the process. Santa Clara Vanguard Santa Clara, CA 65.850 A-Class Southernaires 1984: SIX WAVES 1981: DIGGING THE PIT Kenner, LA TO SUNDAY Prior to 1981, all percussion instruments had 68.150 All Girl Florida Wave set a record by per- to be carried, though some were allowed to be Les Chatelaines rested on metal legs during the “concert stand- Laval, QC forming on all six days of the still” production. The establishment of the front ensemble, or “pit,” allowed for full-sized keyboard 1982 1984 World Championships. After mallet instruments, a variety of accessory effects (including racks of suspended cymbals) and for MONTREAL, QUEBEC winning the A-Class Prelims on one member to play multiple instruments. At first, the pit was only ten yards wide; 1981’s top 95.250 Open Class Monday and the A-Class Finals three Open Class corps (Santa Clara Vanguard, Blue Devils Blue Devils and Madison Scouts) all grounded Concord, CA on Tuesday, they won the Open the timpani, but not the mallet keyboards. The front ensemble has gradually expanded to the full 68.050 A-Class width of the field and now provides a home for Dutch Boy amplification and electronics. Kitchener, ON 61.950 All Girl Les Chatelaines Laval, QC 1983 W MIAMI, FLORIDA 94.400 Open Class Garfield Cadets Garfield, NJ Class Prelims on Wednesday, 55.700 A-Class placed 9th in the Open Class Les Chatelaines Quarterfinals on Thursday, (back Laval, QC then, the top Open Class corps got a bye straight to the 1984 Semifinals), before placing 20th at the Open Class Semifinals on ATLANTA, GEORGIA Friday. As the A-Class Champions, they put on an exhibition at the 98.000 Open Class Open Class Finals on Saturday! Garfield Cadets Garfield, NJ 94.000 A-Class Florida Wave Spirit of Atlanta Miami, FL 57

1985 1985 THREE TIMES IS A CHARM MADISON, WISCONSIN By winning the World Championship in 1983, ’84, and ’85, the Cadets became DCI’s first Open Class corps to “three-peat”a feat that would be matched by the Division I 98.400 Open Class Cavaliers between 2000 and ’02. However, both were beaten to the three-spot by St. Garfield Cadets Ignatius, All Girl Class Champions from 1975-’77. Garfield, NJ 5 The Cadets 5 The Cavaliers 5 St. Ignatius 90.400 A-Class Ventures 1983, 1984, 1985 2000, 2001, 2002 1975, 1976, 1977 Kitchener, ON 78.300 A-60 St. Francis Xavier Sancians S. Weymouth, MA 1986 MADISON, WISCONSIN 98.400 Open Class Blue Devils Concord, CA 94.600 A-Class Canadian Knights Peterborough, ON FOR YOUR RECORDS 83.700 A-60 Mandarins owns the distinction of the only corps in DCI history to win four straight St. Francis Xavier Sancians Championships, ruling Division III from 1996-’99. The corps won five titles in all dur- 1987 ing the 1990s, a record for Mandarins “decade supremacy” that MADISON, WISCONSIN the Division I Cavaliers 97.900 Open Class would match by taking five Garfield Cadets Garfield, NJ titles between 2000 and 90.100 A-Class 2006. Santa Clara Vanguard Ventures Kitchener, ON and Blue Devils each won 85.300 A-60 three titles in the 1970s; Mandarins Sacramento, CA The Cadets captured four S. Weymouth, MA in the 1980s, a number equaled in the 1990s by 1988 the Blue Devils—who also KANSAS CITY, MISSOURI hold the record for winning 97.100 Open Class more DCI titles than any Madison Scouts Madison, WI other corps, 14. 91.900 A-Class 1989: BREAKING L’Insolite THE SILVER STREAK St. Jerome, QC After a gut-wrenching stretch of 80.200 A-60 four straight second-place finishes Mandarins (1985–1988), Santa Clara Vanguard Sacramento, CA reclaimed the Open Class title in 1989. Yet the six-time champions’ 1989 most impressive streak stands at 39: That’s the number of con- KANSAS CITY, MISSOURI secutive seasons as a World Class Finalist—making Santa Clara 98.800 Open Class Vanguard the only corps in his- Santa Clara tory to appear in every single DCI Vanguard World Championship Finals, a Santa Clara, CA record that will never be matched. 93.300 A-Class Ventures Kitchener, ON 88.300 A-60 Blue Stars La Crosse, WI 58 2011 DCI Souvenir Yearbook

SITES SIGHTINGS 2010 Blue Devils 1990 Before settling in its current CAN’T TOUCH THIS BUFFALO, NEWYORK home at Indianapolis’ Lucas Oil Stadium in 2009, the There have been six 97.700 Open Class DCI World Championships undefeated seasons in Cadets of Bergen were held in 19 different cit- DCI World Class history: County ies. Madison, Wisconsin Blue Devils in 1982, 1994 Hackensack, NJ holds the record with seven. and 2009-’10, Cadets in Montreal (1981-’82) is the only 2000, (tying for the title 91.800 A-Class city outside the U.S. to host with Cavaliers) and the Ventures the World Championships. Cavaliers in 2002. Kitchener, ON The Championships have been held West of the Rocky 1994: THE NEW CLASS CROWNS 88.400 A-60 Academie Musicale Madison, WI After winning the Division II title in 1993, Carolina Sherbrooke, QC Crown moved into Division I the following year. Mountains only once, 2007’s Five other current World Class corps previously 1991 Finals at Rose Bowl Stadium won championships in other classes: Pioneer in Pasadena, California. This (joined Div. I in 1997) won A-60 in 1991 and Div. II DALLAS, TEXAS year, Indianapolis will join in 1994 and ’95. Mandarins (2002) won six A-60/ Madison and Orlando, Florida, Division III titles before taking the Division II crown 97.000 Open Class as the only cities to host the in 2001. Cascades (‘02) claimed Div. III honors in Star of Indiana World Class Championships 2000. Blue Stars (‘06) won A-60/Div. III in 1989, ’93, Bloomington, IN three straight years. Here’s a ’01, and ’03, and Academy (‘07) won Div. II in 2006. list of multiple hosts: 92.700 A-Class 1993 Carolina Crown Southwind 7x Madison, WI Montgomery, AL 1985, 1986, 1987, 1992, 1999, 2002, 2006 86.000 A-60 Pioneer 6x Orlando, FL Milwaukee, WI 1996, 1997, 1998, 2003 1992 3x Denver, CO 1977, 1978, 2004 MADISON, WISCONSIN Buffalo, NY 1990, 1995, 2001 97.500 Division I Indianapolis, IN The Cavaliers 2009, 2010, 2011 Rosemont, IL 2x Whitewater, WI 92.900 Division II 1972, 1973 Southwind Philadelphia, PA Montgomery, AL 1975, 1976 Birmingham, AL 90.000 Division III 1979, 1980 Mandarins Montreal, QUE Sacramento, CA 1981, 1982 Kansas City, MO 1993 1988, 1989 Foxboro, MA JACKSON, MISSISSIPPI 1994, 2005 97.400 Division I Cadets of Bergen County Hackensack, NJ 94.300 Division II Carolina Crown Charlotte, NC 85.400 Division III Blue Stars La Crosse, WI 1994 FOXBORO, MASSACHUSETTS 98.400 Division I Blue Devils Concord, CA 96.000 Division II Pioneer Milwaukee, WI 91.900 Division III Americanos Appleton, WI 59

1995 1996: TIES BECOME TRENDY BUFFALO, NEWYORK Over DCI’s first 24 seasons, the World Championship Finals had never ended with a tie for the top spot. Then suddenly, deadlocks became the norm from 1996–2000, with at 98.300 Division I least one division ending in a dead heat every year except 1997. The Cavaliers Rosemont, IL 7 1996 ORLANDO: 95.400 Division II Blue Devils and Pioneer Phantom Regiment Milwaukee, WI tied for the Division I World 95.500 Division III Championship at Academie Musicale 97.40, edging the Sherbrooke, QC third-place Cadets of Bergen County 1996 (96.90). ORLANDO, FLORIDA 7 1998 ORLANDO: 97.400 Division I East Coast Jazz Blue Devils and Spartans Concord, CA shared Division II Phantom Regiment honors at a 97.10— Rockford, IL the only draw in that division’s his- 95.500 Division II tory. Tarheel Sun Les Etoiles took third place Dorion, QC with a score of (96.60). 94.000 Division III Mandarins 7 1999 MADISON: Sacramento, CA Blue Devils 1997 become the first corps to draw ORLANDO, FLORIDA twice, this time knotting Santa 98.400 Division I Clara Vanguard Blue for the Division I Devils crown at 98.40, Concord, CA topping the Cavaliers (97.00). 94.200 Division II Spartans 7 2000 COLLEGE Nashua, NH PARK: The Cadets 94.800 Division III and Cavaliers Mandarins finish in a dead Sacramento, CA heat for the Division I crown 1998 at 97.65. Ironically, they beat the ORLANDO, FLORIDA Blue Devils (96.90), who tied for the 98.400 Division I title the year The Cadets before. Bergenfield, NJ 1999: FINALLY! 97.100 Division II East Coast Jazz A charter member Malden, MA of DCI, Boston Spartans Crusaders make Nashua, NH it to theWorld Championship 93.800 Division III Finals for the first Mandarins time.They haven’t Sacramento, CA missed one since. 1999 MADISON, WISCONSIN 98.400 Division I Blue Devils Concord, CA Santa Clara Vanguard Santa Clara, CA 96.300 Division II Patriots Rochester, NY 93.700 Division III Mandarins Sacramento, CA 60 2011 DCI Souvenir Yearbook

2002: DIVISION QUEST 2000 As Open Class Corps get set to compete against COLLEGE PARK, MARYLAND theirWorld Class counterparts at theWorld Championship Prelims on Aug. 11, they may 97.650 Division I think fondly of the ’02 Magic of Orlando. After The Cadets going undefeated and winning the Division II Bergenfield, NJ title with a 99.05 score, Magic became the only The Cavaliers Div. II corps in history to make the Div. I Finals, Rosemont, IL placing 11th. The corps competed in Division II after going inactive in 2001, though many fans 94.350 Division II believed the corps should have been in Division Vanguard Cadets I all season. Santa Clara, CA 89.700 Division III Seattle Cascades Shoreline, WA Magic of Orlando 2001 BUFFALO, NEWYORK LIGHTS, CAMERA, ACTION 98.350 Division I The Cavaliers Since the DCI era’s earliest days, video sportscaster Curt Gowdy. “Sitting next to Rosemont, IL in one format or another has given Maynard Ferguson was a thrill, especially people a chance to experience the World when I slipped him a soprano bugle dur- 97.800 Division II Championships from afar. As technology ing the show and he started wailing on Mandarins has evolved, DCI’s video presence has too. it,“ he says. PBS remained DCI’s TV home Sacramento, CA until the Finals moved to ESPN in 2005. In 1975, the World Championship 88.550 Division III Blue Stars La Crosse, WI Finals made its national television debut The digital age has transformed the 2002 on PBS. Over the years, some viewers way fans can follow drum corps away MADISON, WISCONSIN from the the field. In 2000, the World Championships 99.150 Division I became available on DVD The Cavaliers for the first time. By the Rosemont, IL middle of the decade, DCI 99.050 Division II Magic of Orlando began offering download- Orlando, FL able video. 90.500 Division III Revolution Today, many events San Antonio, TX throughout the season can be streamed live 2003 through DCI’s FanNetwork (dci.thefannetwork.org); ORLANDO, FLORIDA the World Championships 98.800 Division I Blue Devils Concord, CA are offered in high defini- 95.600 Division II Esperanza tion on Blu-Ray discs; San Diego, CA and hundreds of per- 88.600 Division III Blue Stars formances are avail- La Crosse, WI able in desktop and saw the events live; oth- mobile formats. 2004 ers had to settle for a taped broadcast. “We were doing Since 2004, “Big, DENVER, COLORADO a five-hour live primetime Loud & Live” has broadcast of an outdoor allowed thousands of 98.700 Division I fans all over the coun- The Cavaliers try to go to their local Rosemont, IL 96.550 Division II Spartans event on a national network movie theater and Nashua, NH in those early days—that’s see the Quarterfinals pretty remarkable in hindsight,” as they happen. In 88.600 Division III recalls Steve Rondinaro, who’s been 2005, the pre-season Classic Countdown Oregon Crusaders hosting DCI broadcasts since 1979. Over was first simulcast in theaters. For 2011, Portland, OR the years, Rondinaro has worked with the DCI Tour Premiere, featuring the eight some illustrious partners, including Rita Tour of Champions corps, will be shown Moreno, Chuck Mangione, and legendary in theaters in 49 states. 61

2005 THE PIT PLUGS IN FOXBORO, Prior to 2004, all drum corps MASSACHUSETTS performances were strictly acoustic, but percussion instruc- 99.150 Division I tors wanted to make front The Cadets ensemble instruments easier to Allentown, PA hear. That year, the amplification of the front ensemble pit was 97.475 Division II legalized and many new sounds East Coast Jazz were heard for the first time. Malden, MA In 2009, electronics were 88.800 Division III legalized, with synthesizers, elec- Raiders tronic drums and guitars joining Wayne, NJ the pit. Effective this year, sound engineers are allowed to sit 2006 anywhere in the stadium to help direct the proper blending of the MADISON, WISCONSIN amplified and electronic sounds. 97.200 Division I Teal Sound Phantom Regiment The Cavaliers Rosemont, IL 2008: PHOTO FINISHES 95.625 Division II Talk about close: At the 2008 Open Class World The Academy Championship Finals, Blue Devils B was beaten Tempe, AZ W by the Vanguard Cadets for the first time all season, 96.825 to 96.775. That’s a spread of only 84.975 Division III 0.05, or half a tenth. Impulse Buena Park, CA Later that same day, Phantom Regiment beat Blue Devils—98.125 to 98.100—for the first time 2007 of the season, winning the World Class title by 0.025, a mere quarter of a tenth; causing the Blue PASADENA, CALIFORNIA Devils organization to lose two championships by a combined spread of less than a single tenth. 98.000 Division I Both Blue Devils corps enjoyed undefeated sea- Blue Devils sons in 2009, with the World Class group doing Concord, CA the same in 2010 and BD B coming within 0.50 in one mid-season show of having a perfect season. 96.150 Division II Spartans Nashua, NH 90.550 Division III Memphis Sound Memphis, TN N 2008 BLOOMINGTON, INDIANA 98.125 World Class 2009: INSIDE STORY Phantom Regiment Rockford, IL With its retractable roof closed, the brand new Lucas Oil Stadium in Indianapolis 96.825 Open Class becomes the first indoor facility to host the Santa Clara DCI World Championships. Vanguard Cadets Santa Clara, CA 2009 INDIANAPOLIS, INDIANA 99.050 World Class Blue Devils Concord, CA 95.500 Open Class Blue Devils B Concord, CA 2010 INDIANAPOLIS, INDIANA 98.900 World Class Blue Devils Concord, CA 97.550 Open Class Blue Devils B Concord, CA 0 2011 INDIANAPOLIS, INDIANA 62 2011 DCI Souvenir Yearbook

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• A Drum Corps at the Movies Event • Experience the world’s most elite marching music ensembles from the air-conditioned comfort of a movie theater near you! Live and larger-than-life from the 50-yard line of Indianapolis’ Lucas Oil Stadium. Thursday, August 11 For participating theaters and tickets visit FathomEvents.com. For event information visit DCI.org/cinema.

The Corps Drum Corps International’s World Class includes corps of up to 150 members. This season, Open Class groups (which may feature younger performers and more abbreviated touring schedules) will be eligible to compete against their World Class counterparts at the World Championship Prelims. 66 90 113 141 The 7th Jubal Academy Glassmen Regiment 141 68 92 115 Blue Yokohama Blue Devils Jersey Surf Devils B Scouts 70 94 117 ALL-AGE Blue Knights Madison Colt Cadets 141 Scouts 72 119 137-141 96 Forte Blue Stars • Blue Devils C Mandarins 121 • Blue Saints 74 Genesis • City Sound 98 • Gold Bluecoats 123 • Impulse Pacific Legends • Les Stentors 76 Crest • Platinum 125 • Racine Scouts Boston 100 • Spirit of Newark/NJ Crusaders Phantom Music City • Santa Clara Vanguard Cadets Regiment • Thunder 78 127 102 Oregon 65 The Cadets Pioneer Crusaders 80 104 129 Raiders Carolina Santa Clara Crown Vanguard 131 82 106 Revolution Spirit of Cascades Atlanta 133 Spartans 84 108 The 135 Cavaliers Teal Sound Velvet Knights 86 110 Colts Troopers 88 Crossmen

The Academy P.O. Box 11926 • Tempe, AZ 85284 • 480-838-4203 • arizonaacademy.org 2011 marks the 10th anniversary of the STAFF Academy and its 8th season as a competitive corps. Executive Director Mark Richardson ( RE ) For every action, there is a reaction. Bach Business Manager knew this. Whitacre reflected on this. Carol Balk 2011 REPERTOIRE Adams rocked this! The Academy will Tour Directors explore musical and visual variations, canons, and Antonio Bracamonte, Brenna Byrne, REact repetition. REact: For every theme, there is a varia- Bill Richardson, Ian Templin Little Fugue in G Minor tion. REverb: For every sound, there is an echo—a Leadership canon. REpeat: For every great moment, there is Scott Lang by J.S. Bach another waiting to happen. ( RE ): “ . . . just a little Drum Majors bit of history repeating.” Casey Bindl, Lyndsey Mullens, REverb Chris Sambrano Lux Aurumque To explore this concept of historical and musical Design deja vu, the Academy‘s design team have divided Richard Hinshaw (program by Eric Whitacre ( RE ) into three movements. The first, REact, is set coordinator, drill designer), to J.S. Bach‘s “Little Fugue in G Minor,“ a theme Michael Raiford (program designer), Fly that will recur throughout the rest of the show. Part Ryan George (brass arranger), 2, “REverb,” features the work of contemporary Glen Crosby (percussion arranger), by Ludovico Einaudi composers Eric Whitacre (“Lux Aurumque”) and Jack Mizutani (percussion arranger), Ludovico Einaudi (“Fly”). In the final segment, Chris Velez (color guard designer), REpeat REpeat, the cycle concludes as Bach's classic work Mykail Costner (color guard designer), Lollapalooza meets John Adams’ “Lollapalooza.” Ian Grom (design consultant), Tim Mikan (color guard designer), by John Adams Jim Hudson (design consultant) Brass Christian Carichner (caption head), Freddy Martin (consultant), Mike Martin (consultant), Jay Balk, Andrea Brown, Josh Dawes, Emily Fetcho, Phil Giampietro, Brad Hughes, Larry Jones, Greg Mangus, Matt Petterson Percussion Glen Crosby (caption head), Rick Barclay, Nick Curci, Sean Gordon, Travis Guinta, Murray Gusseck, Sean Knuth, Brian Stevens, Mike Talerico Color Guard Chris Velez (caption head), Mykail Costner, Mike Gurrolla, Jennifer House Hinshaw, Masahiro Kajiwara, Tim Mikan, Joey Valenzuela Visual Matt Ray (caption head), Dan Adams, Josh Dawes, Casey Ehrler, Bill Fritz, Ryan Johnson, Ryan Springler, Matt Stout 66 2011 DCI Souvenir Yearbook

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Blue Devils 4065 Nelson Avenue • oncord, A 4520 • 25- 8 -2 18 • bluedevils.org The 14-time or d hampions are comin off STAFF t o consec tive ndefeated seasons. Executive Director The Beat T imeless themes, sophisticated harmonies, David Gibbs My Heart memorable melodies—these elements Corps Manager Skipped have kept the music of Burt Bacharach Pete Emmons vibrant and relevant to generations of musicians and Assistant Managers 2011 REPERTOIRE fans alike. And as the Blue Devils demonstrate with Sheryl Miles, Brian Howard The Beat My Heart Skipped, Bacharach’s intimate Drum Majors A House is Not a Home tunes stand up to the power of drum corps. Andrew Rogers, Tania Schmitfranz, Joesph Galluzzo, Natalia Fesunoff by Burt Bacharach, Hal David Even when heard instrumentally without the Brass equally sublime lyrics of Bacharach‘s longtime col- Wayne Downey (arranger), Summer of ‘77 laborator Hal David, these songs have things to say John M. Meehan, Tony Lanzino, about love and life. Classics like “Promises, James Rocillo, Kevin Ronan, by Burt Bacharach Promises,” “I Say a Little Prayer,” “One Less Bell to Shawn Murphy, Joe Haworth, Answer,” and others give the Blue Devils a platform Bill Watson, Steve Vento, Promises, Promises to express emotion musically—and amplify it with Sean Snyder the corps‘ trademark visual artistry. The two-time Percussion by Burt Bacharach, Hal David defending World Champions bring their own vivid Scott Johnson (arranger), David interpretation to the work, uncovering new layers of Glyde (music coordinator, arranger), The Sweetest Punch resonance and expression within some of the most Jim Wunderlich (arranger), Ben familiar tunes in pop music history. Maughmer, Jack Mizutani, Tim by Burt Bacharach, Elvis Costello Tintari, Rudy Garcia, Ricky Odello, Sean Vega, Brian Dinkel, Shawn One Less Bell to Answer Glyde Color Guard by Burt Bacharach, Hal David Scott Chandler (program coordinator, designer), T.J. Doucette, Robbie Woman Jacobson, Corey Robinson Visual by Burt Bacharach Jay Murphy (designer), Jaime Holly (asst. designer), Todd Ryan, I Say a Little Prayer Ken Karlin, John Bradford, Brian Peter, Jesse Minor, Kari White, by Burt Bacharach, Hal David Ben Henderson, Tim Darbonne, Ben Kane, Karl Lowe (consultant), Wives and Lovers Anthony Smith (consultant) by Burt Bacharach, Hal David God Give Me Strength by Burt Bacharach, Elvis Costello 8 2011 DCI Souvenir Yearbook

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Blue Knights 1137 S. Jason St. • Denver, CO 80223 • 303-777-1937 • bknights.org Blue Knights was founded in 1958 by Fred and STAFF Fae Taylor, ex-vaudeville comedians and musicians. Executive Director Mark Arnold An English From the rolling hills and patchwork mead- Tour Manager Folk Song ows of the British Isles, comes a tale of Jaime Martinez Suite long ago. The Denver Blue Knights explore Member Services the centuries-old traditions of folk music, which cel- Jordan Helwerda 2011 REPERTOIRE ebrate the local customs and colorful characters of Manager village life in An English Folk Song Suite. Ken Adams First Suite in E-flat for Drum Majors Military Band Three icons of classical music provide the Angelo Sapienza, Thomas Kober soundtrack for this fable, which starts with Design by Gustav Holst “First Suite in E-flat for Military Band” by English Marc Sylvester (program composer Gustav Holst. coordinator, visual designer), English Folk Song Suite Jay Bocook (brass arranger), Ralph His countryman Percy Grainger—who’s often Hardimon (percussion arranger), by Ralph Vaughan Williams credited with reviving an interest in British folk Dan Darah (percussion arranger) music—supplies the frolicking center section, full Brass Shepherd's Hey of fair maidens and mischievous lads. Andy Smart (caption head), Mike Wille (assistant caption by Percy Grainger Ralph Vaughan Williams composed two of the head), Jed Weeks, Ashley Drayer, show’s pieces, including the work that gives the Darren Dukart, Zac Ruffert, Molly on the Shore show its title, and the closing number, “Five Variants Brad Toth, David Harmon, of Dives and Lazarus,” with its majestic anthem of a Robert Soto, John Matthews, by Percy Grainger more chivalrous people. Once Upon a Time is now. Nick Hinman, Josh Schweizer Percussion Five Variants of Dives Paul Weber (caption head), and Lazarus Ralph Hardimon, Daniel Allen, Pat Aamann, Marqus Burleson, by Ralph Vaughan Williams Doug Bush, Ryan Claus, Daniel Darrah, Manny Flores, William Gunn, Rod Kosterman, Phillip Martinez, Craig Sheffield, Chris Temple Color Guard Tim Newburn (caption head, designer), Krystle Breden (assistant caption head), William Martin, Juan Artavia, Cody Albrecht, Theresa Fox, Kelly Simon, Cecil Crabtree, Lindsay Kusmericzak, Louis Hellinger (writer), George Staib (writer), Tom Harrington (writer) Visual Jason Bentley (co-caption head),Craig Sellers (co-caption head), Marc Sylveter, Min Park, Javier Tapia, Alex Cardona, Mike Guertin, Kelly Earp, Bailey Barringer, Tanner Cornell, David Hurd, Jason Stotz (choreography) 70 2011 DCI Souvenir Yearbook

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Blue Stars P.O. Box 2523 • a rosse, 54 02 • 08- 82-321 • bluestars.org 2010 marked e tars third consec tive STAFF season finishin in the or d ass ina s. Executive Director ReBourne I nspired by the saga of Robert Ludlum’s super- Brad Furlano spy Jason Bourne—a covert operative in search Corps Director 2011 REPERTOIRE of his own identity—the Blue Stars bring the Howard Weinstein excitement and suspense of a blockbuster film to Business Manager Main Titles (from the field in ReBourne. Steve Stueck The Bourne Identity) Tour Director The show draws from John Powell’s soundtrack Mike Halron by John Powell to The Bourne Identity—as well as Don Davis’ Assistant Tour Director music for The Matrix series—to tell a fast-paced Brad Harris Burly Brawl (from original story. Drum Majors The Matrix Reloaded) Mark Donahue, Laney Pieratt, Kris \"A careful balance of drive, energy, and chase Borden by Don Davis mixed with moments of reflection, takes us on a Design journey of musical and visual theater,” says director Frank Sullivan, Tom Aungst, Neil Bourne Gets Well (from Howard Weinstein. “It’s a program that will keep the Larivee, Kevin Ford, Michael The Bourne Identity) viewers engaged from beginning to end. As part of Shapiro, Fred Feeney (consultant) the design process, we once again wanted to bring Brass by John Powell back the ‘Blue Star Identity’ that is a careful blend Frank Sullivan (caption head), Seth of what our audiences have come to expect from Murphy (assistant caption head), Trinity Definitely (from us. It’s a drum corps show that will be remembered Holly Maldonado, Andy Tye, Brian The Matrix Revolutions) from all perspectives.\" Fischer, Patrick Geren, Scott Carr, Jeff Appel, Aaron Goldberg, Brian by Don Davis Kraft, Andy Poor, Ryan Mohney, Matthew Stratton, Josh Talbott Treadstone Assassins (from (consultant), Donnie Van Doren The Bourne Identity) (consultant) Percussion by John Powell Tom Aungst (caption head), Neil Larivee (front ensemble Bullet-Time coordinator), Joel Hilbert, Justin (from The Matrix) Robert Lewis, Chris Lawlor, Chris Watson, Joel Gardner, Jason by Don Davis Maderios, Justin Coughlin, Justin Lewis Color Guard Michael Shapiro (caption head), Krystal Shepard, Brandt Wright, Anthony Garcia, Sergio Marquez Visual Mike Neptune (caption head), Jon Zollo (caption supervisor), Trevor Cox, Derek Ellinger, Tim Handley, Chris Hardesty, Chris Kaflik, Jaraun Ransome, Roger Marquis, Greg Dalton, Jeff Paradis 2 2011 DCI Souvenir Yearbook

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Bluecoats P.O. Box 2733 • . anton, 44 20 • 330-433- 115 • bluecoats.com The 2010 ron e meda ist ecoats en oyed STAFF their hi hest finish ever in competition. Executive Director David Glasgow Brave New I n 2011, Bluecoats will create a Brave New Operations Director World World on the field by trying new techniques Genevieve Geisler and building new skills—and surely picking up Corps Manager 2011 REPERTOIRE new fans along the way. Bill Hamilton Creep Assistant Corps Managers This world comes into existence with a big bang Joe Beitman, Scott Hackett by Radiohead of color and energy as Radiohead’s anthem to alien- Strength & Conditioning ation, “Creep,” evokes the feeling that we’ve awo- Coordinator Deus Ex Machina ken in a strange place full of new sights, sounds, Frances Smith and textures. Next, Michael Daugherty’s “Deus Ex Drum Majors by Michael Daugherty Machina” creates a sense of explosive force. Jonathan Lomax, David Schaefer Design Harvest: Concerto Suddenly, we‘re confronted with a quadraphonic Michael Gray (program coordinator), for Trombone soundscape, as the Bluecoats splinter and regroup Doug Thrower (brass arranger), Tom as four separate units, each with its own musicians Rarick (percussion arranger), Tim by John Mackey and color guard, all performing at the same time. Fairbanks (visual designer), Andy John Mackey’s “Harvest: Concerto for Trombone” Mroczek (color guard caption head, 74 2011 DCI Souvenir Yearbook closes the show with an injection of raw energy. Yet designer, choreographer) we never completely lose that feeling of dislocation Brass that we can all experience when confronted with Dave Mackinnon (co-caption head), our own “Brave New Worlds.” George Wozniak (co-caption head), Daniel Galloway, Ryan Adamsons, Sean McMahon, James Freeman, Emery Craig, Joe Buscuito, Lisa Tatum, Bob Higgins, Mark Nichols Percussion Mike Jackson (caption head), Kevin Shah (electronics designer), Tim Jackson (battery coordinator, movement designer), Brad Palmer (front ensemble coordinator), Eric Shriver, Fernando Miller, Michael McKenna, Ryan Lamb, Ryan Kilgore, Craig Loeffler, Matt Hahn Color Guard Andy Mroczek (caption head), Michael Rosales (choreographer), Kathy Pearson, Jennifer Permer, Jonathan Meader, Shane Cheatle, Doug Hooker, Leigh Hadjis Visual Ron Hardin (caption head), Brian Soules, Brian Kraft, Kevin Stahl, Chris Considine, Aaron Bailey, Justin Johnson, Noah Bellamy, Tim Cole, Michael Huebner, Chris Cyr, Gino Hernandez

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Boston Crusaders P.O. Box 51391 • Boston, MA 02205 • 617-268-4600 • crusaders.com TMheisCérursaabdelersslaisnt ptehrfeoirrm1ed9s8e8lecptiroonsdfurocmtiLoens. STAFF Revolution T he word “revolution” can refer to dramatic Executive Director change, but it can also mean a cyclical Tom Spataro 2011 REPERTOIRE journey where sights and sounds return Tour Directors again and again. Boston Crusaders’ Revolution John Simonyi, Suzanne Ferrell- Do You Hear the People Sing uses both definitions, intermingling the revolution- Locke, Ashley Trudell I Dreamed a Dream ary themes from one of the 20th century’s most Assistant Tour Directors The Attack on Rue Plumet popular musicals—Les Misérables—with one of the Mario Mistretta, Jose Eslava, On My Own 19th century’s definitive compositions, the “1812 Chance Livar Bring Him Home Overture.” Images form and dissolve into one anoth- Director of Development One Day More er as the music unfolds. We see recurring visuals—a Melissa Bruneau (All of the above from flag on top of the barricade; a rope drum—as Drum Major Les Misérables) shapes revolve around themselves to completely Thompson Vou change their original structure. Through it all, the Design by Claude-Michel Schönberg, emotional underpinnings of Les Mis are intertwined Jay Kennedy (program coordinator, Alain Boublil with melodies from Tchaikovsky's masterpiece. As brass arranger), Brian Murphy the show nears its climax, the music and visuals (visual designer), Ellis Hampton The Year 1812, Festival intensify. Overlapping melodic snippets evoke can- (percussion arranger), Matt Winans Overture in E-flat major nons, church bells, and people singing. What‘s old is (color guard designer), Jerry new again: The Revolution is complete. Corradino, Bruno Zuccala by Peter Ilyich Tchaikovsky Brass Chad Pence (caption head), Wayne Dillon, Paula Hyman, Dennis Laorenza, Frank Williams, Tom Santino, Anthony Cruddas, Will Plenk, Chris Grifa Percussion Ellis Hampton (caption head), Ben Hall, Luis Rivera, Brian Lange, Jonathan Anderson, Chris Lennox, Tricia Tedford, Tyler Sammons Color Guard Matt Winans (caption head), Kim Bolduc, Sarah Baretta, Jason Ciesla, Lopez Reese, Brittany McMillan, Anthony Scudero, April Gilligan- Martinez Visual Brian Murphy (caption head), Jonathon Diego, Adriel Rodriguez, Eddy Falcon, Miguel Adorno, Sandy Sanchez, Matt Rusnak, Geoff Lee, Kyle Nealy, Scott McAnally 76 2011 DCI Souvenir Yearbook

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The Cadets 601 W. Hamilton St. • Allentown, PA 18101 • 610-821-0345 • yea.org/cadets I\"sAnmunaannsiwnehreedrqeunesttliyongeoxiostds.? Or evil?\" STAFF Between I n Between Angels and Demons, the Cadets Corps Director Angels and pose a question that‘s troubled the human soul George Hopkins Demons since the dawn of time: Are we good or evil? Assistant Director The answer unfolds over four movements. As Justin Heimbecker 2011 REPERTOIRE the first opens to Frank Ticheli‘s ”Angels in the Brass Architecture,“the Cadets divide into two indepen- Jay Bocook (arranger), Gino Cipriani 1. Opening dent units—one dressed in cream and the other in (caption supervisor), Steve Bentley, Angels in the Architecture maroon. The splitting of the corps‘ traditional uni- Sean Furilla, Jarrett Lipman, Larry form colors illustrates the divide between good and Markiewicz, Nick Peterson by Frank Ticheli evil—and allows us to follow along as these two Percussion forces battle for control throughout the rest of the Colin McNutt (arranger), Iain Moyer 2. The Demons production. Evil is in the ascendency in the second (arranger), James Ancona, Jacob Take the Lead movement, which is set to a selection from Hans Gall, Ian Grom, Thom Hannum, 160 BPM Zimmer's Angels and Demons soundtrack, but Good Dean Hickman, Jason Ihnat, (from Angels and Demons) rebounds in the third with “Doxology” and “Amazing Andrew MacLeay, Gerry Miller, Grace.” In the Finale, the glorious chords of “Angels James Sparling, Johnny Trujillo, by Hans Zimmer in the Architecture“ return to announce the trium- Chris Vale, Mike Zellers phant victory of good over evil. The world is now a Color Guard 3. The Angels Turn better place—or is it? Daniel Riley (caption supervisor), Doxology Eric Babula, Ronnie Bynum, Juan Caceres, Katie Hopkins, Greg by Loys Bourgeois, Thomas Ken Lagola, April Martinez, Alex Perez, Emma Roberts, Curtis Uhlemann, Amazing Grace Traci Williams Visual by Frank Ticheli Jeff Sacktig (caption supervisor), Aaron Barnes, Jon Bilby, Jason 4. The Finale DeGroff, Patrick Duncan, Mike Angels in the Architecture Fanning, Jarrod Huntley, Jonathan Michels, Jared Morgan, Joe Roche, by Frank Ticheli Bruno Zuccala Administrative Team Melissa Babalonis, Nicholas Broussard, John Haney, Joe Kerr, Abby Malloy, Jay Travis Athletic Trainers Rick Vale, Alyssa McPherson, Katie Annan Videographer Adam Adomo 78 2011 DCI Souvenir Yearbook

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Carolina Crown 227A Main Street • t. i , 2 15 • 803-54 -22 0 • carolinacrown.org Crown has been voted “Fan Favorite” STAFF at the World Championships for two straight years. Executive Director Jim Coates Rach Star V irtuosity and excitement collide Director when rock and roll meets romanticism Kevin Smith 2011 REPERTOIRE in Carolina Crown‘s Rach Star. Tour Director From stage diving to piano concertos, Crown Anna Rugila We Will Rock You kicks out the jams with the music of Queen, Black Director of Development Sabbath, and the Rolling Stones alongside a trio of Eric Sabach by Brian May works—“Symphonic Dances,” “Piano Concerto No. Drum Majors 2,”and “Rhapsody on a Theme by Paganini”—by the Preston Cheek, Andre Mathis Iron Man last great romantic composer, Sergei Rachmaninoff Design (1873–1943), who was a proto rock star in his native Keith Potter, Michael Klesch, Leon by Ozzy Osbourne, Tommy Iommi, Russia. May, Lee Beddis, Andrew Geezer Butler, Bill Ward Markworth, Michael Townsend, Bridging these two worlds is the composition Adam Sage, Jim Coates Symphonic Dances “Piano Concerto No. 1” by rock keyboardist Keith Brass Emerson. Listen carefully, and you‘ll also hear Matt Harloff, Michael Klesch, Ray by Sergei Rachmaninoff Crown sneak in some quick and clever musical quo- Linkous, Ben Harloff, Chad tations by the likes of Jimi Hendrix, Guns N' Roses, Brinkman, Corey Alvaro-Futrell, Piano Concerto No. 2 in C Deep Purple, Rihanna, and Ben Folds as they Steve Mason, Larry Shane, Bob Minor, Op. 18 explore the look, lifestyle, experience, and show- Chreste, Joe Padawan, Marshall manship of being “Rach Stars” on the field. Woody, Ryan Summers, Barry by Sergei Rachmaninoff Husdon, Freddy Martin Percussion Paint It, Black Lee Beddis, Andrew Markworth, Zach Schlicher, Ryan Anderson, by Mick Jagger, Keith Richards Mike Dow, Jeff Brooks, Ian Hale, Steve Ballard, Mike Bishop, Garrett Piano Concerto No. 1 Scharton, Josh Brickey, Becky Sudul Color Guard by Keith Emerson Michael Townsend, Adam Sage, Matty Follo, Adam Dalton, Susan Bohemian Rhapsody Hanggi, Joey Powell, Michael Floyd, Darren Mickens, Ariana Debose by Freddie Mercury Visual Andy Ebert, Leon May, Keith Potter, Rhapsody on a Theme by Neil Adkison, Ben Firkus, Taylor Paganini Harrell, Dusty Delmoro, Martin Montoya, Daphne Adkison, Matt by Sergei Rachmaninoff Reschetz, Nick Smith Consultants Jim Moore, Donnie VanDoren, George Pinney Administration Wesley Payne, Amanda Petersen, Chris Rugila, Molly Favret, Ryan Buggs, Erik Burch, Cora Ray 80 2011 DCI Souvenir Yearbook

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Cascades PMB 107/14241 NE Woodinville Duvall Rd. • Woodinville, WA 98072 • 360-241-1249 • seattlecascades.org The Pacific Northwest’s Cascades were the 2000 STAFF Division III DCI World Champions. Corps Director Pandora— Following 2010’s uplifting “Silver Lining” pro- Sal Leone a Dark Gift gram, Cascades take a more ominous direc- Assistant Director, COO tion with this year’s show, Pandora—A Ron Comfort 2011 REPERTOIRE Dark Gift. In Greek mythology, the first Athenian Assistant Director, Administrative woman was the beautiful Pandora, whom Zeus Affairs Pandora—A Dark Gift gave as a gift—and temptation—to mankind. Pat Davis Unfortunately, Pandora’s curiosity got the best of Assistant Director, Membership Original Compositions her. She couldn’t resist the temptation to open a for- Welfare by Josh Hinkel, Chris Grant bidden box—and once she popped the lid, all the John Freeman evils of the world came flying out. Yet amid the dis- Drum Majors My Immortal ease and pestilence, the box also contained one Bennie Hodder, Caitlin Heber good thing, hope. Design by David Hodges, Amy Lee, Kurt Jull (design coordinator), Ben Moody To bring this cautionary tale to life, Cascades will Michael Leone (program use original music composed by Josh Hinkel and coordinator), Josh Hinkel (brass Chris Grant, as well as “My Immortal” by the rock arranger), Benjamin Adams (color band Evanescence. A new visual direction for the guard designer), Chris Grant corps is sure to add yet another dimension to the (percussion arranger), Eric Parker drama, as Pandora—like the rest of us—tries to find (drill designer), Gordon Henderson the balance between knowledge and safety. (program consultant), Ron Comfort (assistant director), Steve Menefee (artistic director) Brass Zach Smith (caption head), Steve Menefee, Jeremy Permen, Chris Thomas, Nick Calza, Will Obregon Percussion Sean Schwartz (co-caption head), AJ Pace (co-caption head), Ricky Martinez, Travis Opocensky, Patrick Beare, Emmanuel Olia, Warren Murray, Jose Hermosa Color Guard Benjamin Adams (caption head), Ricardo Alexander, Jennifer Freeman, Brett Harbur Visual John Freeman (caption head), Michael Kirkbride, Tom Dougherty, Rudy Guidry 82 2011 DCI Souvenir Yearbook

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The Cavaliers P.O. Box 501 • Rosemont, IL 60018 • 224-567-8171 • cavaliers.org Don Warren founded the Cavaliers in STAFF 1948 as Boy Scout Troop 111 Drum and Bugle Corps. Corps Director Adolph DeGrauwe XtraordinarY In XtraordinarY, the Cavaliers create other- Tour Director worldly realms of fantasy through a diverse Mark Ackerson 2011 REPERTOIRE array of musical textures. The soundtrack Drum Majors begins with a curious and suspenseful overture that Brandon Cave, Andrew Rhebergen Footprints combines Eden Ahbez’s “Nature Boy” with J. S. Design Bach’s “Fugue in G Minor.” Next, the corps takes us Scott Koter (program coordinator), by Wayne Shorter to a new dimension entirely as the Wayne Shorter Tommy Allen, Michael Gaines, standard “Footprints” gets an unexpected twist. The Michael McIntosh, Alan Miller, Jungle Tango front ensemble steps into the spotlight on the Jazz Drew Shanefield, Andrew Toth, Bart Mandolin Project’s “Jungle Tango” to get hearts rac- Woodley by The Jazz Mandolin Project ing. The percussion provides the driving force Brass behind the brass section‘s stratospheric rise, which Scott-Lee Atchison (caption head), Nature Boy accompanies an equally spectacular visual explosion Trevor Bailey, Matthew Banks, as the Green Machine hits its stride at a sprint with Mansa Jamil Gory, Kyle Harvison, by Eden Ahbez characteristic intensity. Yet the undercurrent of Branden Hill, Nate Holland, Fuller “Nature Boy” is never far away. And as we come Lyon, Joe Musick, Scott Norman, back to earth, its hauntingly beautiful melody returns Ed Roush, Stuart Shulman, Taylor in full force, reminding us that XtraordinarY is more Smith than mere fantasy: It’s within each one of us. Percussion Brian Tinkel (caption head), Nick Beaudet, John Brennan, Adam Bruce, Adam Clay, Alex Entin, Carl Eppler, Jami Fennell, Erik Johnson, Tim Maynard, Tom McGillen, Rob Pastor, Eric Ridenour, Joe Roach, Chris Sakowski Color Guard Sheldon Apo (caption head), Tommy Allen, George Furlipa, Brady Sanders, Travis Speice, Andrew Toth, Raphael Warner, Robin Wells, Bart Woodley Visual Matt Heard (caption head), Steven Estudillo (assistant caption head), Sly Sybilski (consultant), Nick Beaudet, Alan Chrzanowski, James Harmon, Kris Quaale, Jeremy Seneca, Eric Shannon, Chris Tavano, Taylor Townsend, Jordan Warfield, Paul Wiercioch 84 2011 DCI Souvenir Yearbook

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Colts P.O. Box 515 • Dubuque, IA 52001 • 563-582-4872 • colts.org Founded in 1963, the Colts have been DCI World STAFF Championship Finalists eight times. Corps Director DECEPTION: T aking inspiration from Pyotr Ilyich Greg Orwoll Tchaikovsky’s classic ballet Swan Lake as Drum Major The Jagged Edge well as Darren Aronofsky’s Academy Sam McGinthy Award-nominated film Black Swan, the Colts take Program Coordinator, 2011 REPERTOIRE on one of life’s most complex subjects: DECEPTION: Brass Arranger The Jagged Edge between innocence and the Chris Tomsa Swan Lake potential dark side that’s within. Tchaikovsky’s Brass majestic music opens the show, but soon things Dr. Ramon Vasquez (caption head), by Pyotr Ilyich Tchaikovsky take a more ominous turn with “Danza de los Joe Falcon, Matt Kettlehut, Laura Duendes” by Nancy Galbraith (duendes are nasty Leary, Lauren Ashley Cobb, Dan Danza de los Duendes goblin-like creatures from South American folklore). Ritacco, Bobby Frey, Megan Ivers, The edgy post-modern vibe gives way to “The Tim Kiefer, Scott Palmer, Alex Blue, by Nancy Galbraith Swan” from Camille Saint-Saëns’s Carnival of the Phil Snyder Animals. As they explore the sometimes scary Percussion The Swan (from edges of creativity, the Colts uncover deception to Jerry Carpenter (front ensemble Carnival of the Animals) find truth and beauty. Finally, “Mind Heist” by con- arranger, caption head), Rich Viano temporary American composer Zack Hemsey reminds (arranger), Nick Werth, David by Camille Saint-Saëns us that—as Claude Debussy once so truthfully Nelson, Nick Ryan, Diaz Clark, Thien stated—“art is the most beautiful deception of all.” Quoc Pham-Tran, Craig Myers Mind Heist Color Guard Carla Burgess-Tomsa (caption by Zack Hemsey head, designer), Ashley Studer (designer), Charles Williams (designer), Christopher Dulin (designer), Amy Braun (designer), Erin Culver (designer), Brandon Smith (designer) Visual Stephanie Furniss (caption head, visual coordinator), Andrew Ebert (drill designer), Ismael Ledezma, Mat Becker, Mat Tomsa, Austin Clements, Peter Inglett, Keenan Cox, Joe Hamlin, Jon Cordell, Drew Gregorczyk, Armando Martinez, Danielle Martinez Tour Staff Matthew Burns (tour director), Mike Freeland (assistant tour director), Jarrett Ercoli (tour assistant) Administrative Staff Vicki Schaffer (youth programs director), Jeff MacFarlane (controller, designer), Bill Symoniak (volunteer coordinator), Lauren Ripley (uniforms), Lori Connolly (food program), Jeanne & John Scott (flag production), David King (vehicles), Bruce Hallahan (board president), Peggy Francomb (booster club president) 86 2011 DCI Souvenir Yearbook

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Crossmen P.O. Box 591940 • San Antonio, TX 78259 • 210-860-8228 • crossmen.org “We have set out to entertain fans and bring STAFF great music back to the audience.” Executive/Corps Director Renewal W hat is Renewal? The dictionary defines Fred Morrison renew as \"to make like new; to restore Assistant Corps Director 2011 REPERTOIRE to freshness, vigor, or perfection.” But Joseph Banegas the process of renewal is different for every individ- Corps Operations Episode: Prelude ual. Crossmen explore this theme without trying to Maureen Morrison, Denise Troyer guide the listener on any one particular journey. We Tour Director Rico Gomez by Nando Lauria get the music and the images, and are then free to Assistant Tour Directors find our own way. Evan Woods, Audrey Driscoll Ursa Major Tour Assistants Zach Ashcraft, The show begins with “Episode: Prelude” by Evan Fletcher, Tim Kurtz by Chuck Naffier Nando Lauria, a Brazilian multi-instrumentalist who Food Service Jeffrey Pianka may be best known for working with jazz musician (manager), Kaitlyn Pineiro (assistant) Spinning Wheel (and longtime Crossmen muse) Pat Metheny. “Ursa Merchandise Taylor Jenkins Major” is an original piece by Crossmen brass (manager), Allison Jenkins by David Clayton Thomas arranger Chuck Naffier. It’s followed by the lyrical (manager), Corey Joachim and passionate Leonard Cohen piece “Hallelujah” (assistant) Hallelujah before returning to Lauria‘s work. Fittingly, the Trainer Ruth Ann Aragon program comes to a satisfying end where so Volunteer Coordinator by Leonard Cohen many journeys of renewal end up leading us: right Evan Woods “Back Home.” Graphic Design & Marketing Back Home Michele Williams Tour Public Relations Coordinator by Nando Lauria Bob Fields Drum Majors Justin Hawkins, Joey Lewis Design Jaime Alvarez-Calderon (program coordinator), Chuck Naffier (brass), Lee Beddis (percussion), Andrew Markworth (percussion), Ed Devlin (visual coordinator, drill designer), John Leonard (color guard designer), Al Chez (consultant) Brass Jason Buckingham (caption head), Paul Bessetti, Rance Costa, Kara Alvarez-Calderon, Chad Huel, Ryan Johnstone, Stephen Jones, Matt Willis Percussion Rudy Gowern (caption head), Paul Loos (battery coordinator), Nathan Ratliff (front ensemble coordinator), Aaron Barrientos, Chris Demuth, Sarah Fabian, Ryan Jezierski, Melissa McGoldrick, James-Douglas Buck Palmer, Collin Pagel, Jules Scogna Color Guard John Leonard (caption head), Andy Hudson (consultant), Jennifer House Hinshaw (consultant), Andrew Acheson (consultant), Andria Foerch, Morgan Brockman, Jay Kietzman, Jacob Kalemba, Alex Stelken Visual Terry Pritchard (caption head), Johnnie B. Green (assistant caption head), Taylor Brown, Kristian Cox, Brad Denoris, Jocelyn Doucet, Thomas Piazza, Eric Suedemeyer, Thomas Williams 88 2011 DCI Souvenir Yearbook

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Glassmen P.O. Box 352080 • Toledo, OH 43635 • 419-698-9775 • glassmen.org TfihfetGielatshsmaennnarievperrosudatroycienleb2r0at1e1th. eir STAFF My Mortal L ove by moonlight; life and death; soul mates Executive Director Beloved whose relationship transcends physical Brian Hickman death... Poets have been wrestling with these Office Manager 2011 REPERTOIRE themes for longer than we‘ve had written language. Janet Ankenbrandt In My Mortal Beloved, Glassmen will take on this Staff Coordinator, Movement Act 1: Chasing the Moonlight weighty subject with a combination of original music Specialist Roman Montoya Original Composition by Donald Hill and classic themes by Beethoven, Tour Manager Verdi and Tchaikovsky—with a little Elvis thrown in. Mike McGreevy by Donald Hill Assistant Tour Managers The story unfolds over four acts. The first, Chasing Sam Cummins, Chris Martin Act 2: Falling for the the Moonlight, features Hill‘s original work. We Fall Drum Majors Moonlight for the Moonlight to Beethoven‘s “Moonlight Josh Jameson, Wyatt Mullins Moonlight Sonata Sonata” at the beginning of Act 2. It‘s followed by Design the Elvis Presley hit “Can't Help Falling in Love.” Sal Salas (director of programs, by Ludwig Van Beethoven staff development), Don Hill (music In Act 3, Hill quotes Tchaikovsky‘s Romeo and composer, arranger), Pete Weber Can‘t Help Falling in Love Juliet as well as Verdi‘s Requiem to underscore love (visual designer), Rob Ferguson facing its greatest obstacle—death. Finally, Hill‘s (percussion arranger, coordinator), by George David Weiss, Hugo original work (with another assist from Requiem) Joe Heininger (visual designer), Peretti, Luigi Creatore takes us to the ultimate end in Act 4. Can love cross Mark Metzger (visual designer), the great divide between this life and eternity? Colin McNutt (program consultant) Act 3: Forever Together Brass Original Composition (includ- Jason Rinehart (brass caption head), ing excerpts from Romeo Beth Fabrizio, Jeremy Hackworth, and Juliet by Tchaikovsky and Mickey Stisher, Tom Lizotte, Sarah Requiem by Giuseppe Verdi) Roth, Tom Ruby, Bernie Williams, Frank Williams by Donald Hill Percussion Rob Ferguson (percussion arranger Act 4: My Im'mortal' Beloved and coordinator), Eric Carraway, Original Composition (includ- Casey O’Neal, Ryan Pride, Camaron ing excerpts of Requiem by Walton, Jason Heaton, Cory Doran, Giuseppe Verdi) by Donald Hill Andy Wozniak, Maureen Longo, Brian Fronzaglia, Nate Hawk, Dominick Divito Color Guard Kristy Templin (color guard caption head), Jessica Francis, Michael Zablocki, Tyler Smith, Stephen Howard, Jim Van Romer, Lionell Moore Visual Jason Palmer, Scott Tanner, Adam Chitta, Ashley Wright, Noel Navejas, Chris Deberry, Bridget Benson, Pat Miller, Justin Presley, John Popham 90 2011 DCI Souvenir Yearbook

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Jersey Surf 32 Mill Street, Suite 201 • Mount Holly, NJ 08060 • 856-753-3786 • jerseysurf.org Jersey Surf brings a spectrum of STAFF color and emotion to the field in 2011. Executive Director Robert Jacobs Petal Tones: S hakespeare wrote “A rose by any other Director of Operations Brian Prato name would smell as sweet.” But as Jersey Assistant Director Shades of Rose Surf demonstrates in Petal Tones, roses Telly Ousouljoglou come in many colors and carry many meanings. Staff Coordinator Chad Wyman 2011 REPERTOIRE Georges Bizet’s sultry opera Carmen provides a Program Coordinator framework for much of the show, but variation Frederick Ford Part 1: Purity—White comes through the music of more modern compos- Business Manager Marty Fricke Part 2: Love at First Sight— ers ranging from tango master Astor Piazzolla to Psychologist Dr. Jacob Levy Lavender “wears-the-meat” pop-star Lady Gaga. Drum Majors Part 3: Seduction—Red Shaquille Millington, Jon Lacy Part 4: Passion—Orange Each of the story’s five movements gives flower Color Guard Captain Part 5: Betrayal/Death/ to a rose of a different color: The white rose of Kimmy Kinden Rebirth—Black Purity is expressed in Carmen’s “Flower Song.” Design Frederick Ford (program The Flower Song (from Carmen) Love at First Sight paints a lavender picture through coordinator), Scott Slutter (brass Lady Gaga’s “Bad Romance.” Back to Carmen for arranger), Robert Cizmarik by Georges Bizet the red roses of Seduction with “Habanera.” (percussion arranger), Colby Piazzolla's “Libertango” and Seal’s “Kiss From a Kuzontkoski (front ensemble Bad Romance by Stefani Rose” convey the Passion of the orange rose. arranger), Bobby Jones (visual Finally Betrayal, Death and Rebirth of the black rose designer), Richard Kim (color guard Germanotta, Nadir Khayat unfold to Sting’s “Tango de Roxanne” and Bizet’s tri- designer), Todd Marcocci (artistic umphal “Toreador Song.” director), Jay McCarroll (costume Habanera (from Carmen) designer), Bob Jacobs Brass Tim Bartholomew (caption by Georges Bizet head), Chris Bartholomew, James Crowley, Harrison Horowitz, Libertango by Astor Piazzolla Mitchell Reed, Steve Wands Kiss From a Rose by Seal Percussion Robert Cizmarik Tango de Roxanne (from (caption head), Jeff Bickford, Moulin Rouge) by Sting, Michael Caruso, Robert Grassie, Sara Haas, Alana Iannucci, Erin Mariano Mores, Baz Luhrman O’Dore, Geoff Summers, Andrew Veit, Joseph Villegas, Simon Toreador Song (from Carmen) Wernovski Color Guard Matthew Hurley by Georges Bizet (caption head), Christopher Cromwell, Danielle Dilks, Katie Gallagher, Kelly Laessig, Ray Okuda, Cynthia Wong, Visual Christopher Vitale (caption head), Ali Carraher, Mark Figueroa, Trevor Sindorf, Brendan Maltese, Joe Palumbo, James Wysoczanski Volunteer Coordinator Terri Ives Tour Operations Team Lois Fricke, Beverly & Ted Vallies, Naomi & Tom Piatek, Geoff Thompson, Harold Jones, Mike Davis, Bill & Terri Ives, Carrie & Bunky Burlingame, Lou Sarlo, Sue Cain, Sue & Rich Caschera, Geoff Thompson, Mike Davis, Bonnie & Barry Surkin 92 2011 DCI Souvenir Yearbook

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Madison Scouts 2935 S. Fish Hatchery Rd. #401 • Madison, WI 53711 • 816-835-9208 • madisonscouts.org “We really want people to just sit back STAFF and enjoy the music and the show.” Executive Director New York E ntering its 74th season of continuous Chris Komnick Morning operation, Madison is among drum corps’ Corps Director oldest and most successful groups, boast- Dann Petersen 2011 REPERTOIRE ing 35 trips to the Finals in the last 38 seasons. Drum Majors But thanks to an infusion of new leadership over the Sean Phelan, Derek Weidenthal New York, New York last couple of years, the Scouts have been hitting Design the field with a youthful hunger that has fans envi- James Mason (artistic director), by Leonard Bernstein sioning even greater glory—including a return to the Robert W. Smith (brass arranger), Championship form of 1975 and 1988. Perhaps that Thom Hannum (battery percussion Oh, What a Beautiful Mornin’ day will dawn with 2011’s New York Morning. As arranger), James Ancona (front with last season’s untitled show, the Scouts are ensemble arranger), Jeff Lee by Richard Rodgers keeping program notes to a minimum. The diversity (electronics arranger), Jim Moore of the repertoire sends its own kind of message, (choreographer), Jon Vanderkolff Beautiful Mourning and however. Just as the city blends cultures and gener- (visual designer), James Prime Requiem ations, Madison puts long-established classics by (music advisor), Chad Duggan Leonard Bernstein, Richard Rodgers, and Robert W. (consultant) by Robert W. Smith Smith side-by-side with the more modern urban Brass anthem to the Big Apple, “Empire State of Mind” Donnie VanDoren (caption Empire State of Mind by Jay-Z and Alicia Keys. supervisor, staff coordinator), Brad Green (caption head), Tim Snyder by Alicia Keys, Shawn Carter, (assistant caption head), Scott Jane’t Sewell, Angela Hunte, Steward, Jordan Walker, Evan Al Shuckburgh, Burt Keyes, VanDoren, Alex Brough, Scott Sylvia Robinson Oliver, Dr. Nick Williams (senior consultant), Matt Jenkins (consultant), Joni Perez (consultant), Amy Frost (consultant), Marc Whitlock (consultant) Percussion Thom Hannum (caption supervisor), Nick Angelis (caption head), Brian Perez (assistant caption head), Cisco Hance, Alex King, Eric Kraft, Jeff Queen (consultant), Jesse Willis (consultant), Jeff Lee (electronics), Tim Heasley (sound engineer), Jon Corson, Chris Retschulte, Oliver Rodriguez, Tony Holm (intern) Color Guard Rosie Queen (caption supervisor), Bryan Sutton (caption head), Laura Gasper, Samia Mooney, Mike Novak, Kaysey Thompson, Charlie Gumbert (consultant), Daniel Murin (intern), Chad Truitt (intern) Visual Bob Medworth (caption supervisor), Pat Butler (caption head), John Damore, Jean Heasley, Curt Koehler, Aaron Wells, Matt Wisley, Brandt Murphy, Matt Bristow (intern), Stephen Chitta (intern), Frankie Leslie (intern) 94 2011 DCI Souvenir Yearbook

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Mandarins P.O. Box 22297 • Sacramento, CA 95831 • 916-395-8310 • mandarins.org Middle Eastern and Indian influences give the STAFF Mandarins 2011 show a worldly sound. Executive Director Raymond Mar The Forty S pices delight the palate, but can cause ill- Corps Director Thieves ness; perfumes seduce, but can also betray; Jim Tabuchi toxins can bring temporary ecstasy, but Public Relations 2011 REPERTOIRE they’re deadly. In The Forty Thieves, Mandarins tell Scott Jow Ali Baba’s famous story from 1001 Arabian Nights Drum Major Octobones by blending Middle-Eastern and European sounds David Coyner and motifs—a creative combination that’s both Field Conductor by PercaDu enticing and dangerous. The first movement, Spices, Katie Fortuna draws heavily upon Middle-Eastern and Indian Design Spices, Perfumes, Toxins scales, as well as the Indian system of Talas for Gregory Mar (program coordinator), rhythmic organization. The second movement, Key Poulan (music coordinator), by PercaDu Perfumes, uses what composer PercaDu calls “mul- Myron Rosander (visual designer), ticultural polyphony.” The melody of its opening Brian Mar (visual coordinator), Dan theme evokes Baroque arias: its bass line is Fong (brass arranger), Tony Nunez anchored in the world of jazz. Ali Baba’s adventure (percussion arranger) reaches its thunderous climax in the third move- Brass ment, Toxins. It swings like a pendulum between Chris McCoy (caption manager), joyous ecstasy and obsessive anxiety as exotic per- Jon Holloway, Milt Gee, Nic cussion alternates with more orchestral textures. Bortolin, Tyler Buer, Andrew Chicvara, Santiago Sabado, Blake Underwood, Dolfo Picanco Percussion Tom Linder (caption manager), Blair Williams, Paul Curci, Les Wong, Colby Beers, Josh Luedtke, Nathan Ward, Greyson Boydstun, Michael Flores, Joel Roth Color Guard Gregory Mar (caption manager), Shavon Garcia, Geoff Longo, Jaycee Wilson, Jacquelyn Wong Visual Ron Munekawa (caption manager, staff coordinator), Chris Baudino, Mary Cowperthwait, Joel Ducore, Vinnie Giarusso, James Gow, Chris Huebschle, Jacqueline Meyler, Santiago Sabado, Louie Sosa, Michelle Yamazaki, Christopher DaPrato (strength & conditioning) 96 2011 DCI Souvenir Yearbook

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Pacific Crest 21231 Fountain Springs • iamond ar, A 1 5 • 0 -5 8-5 1 • pacific-crest.or o nded in 1 3, acific rest is no in its STAFF fo rth year as a nationa y-to rin or d ass corps. Executive Director Stuart Pompel Push, Pull, W hether it’s the whole ensemble or the Drum Majors Twist, Turn individual members within it, Pacific Mark Kveton, Gracella Valdez, Crest’s 2011 show—Push, Pull, Twist, Elyse Adea 2011 REPERTOIRE Turn—will keep things in a constant state of Design motion. Each of the moves in the title gets its own Dale Leaman (program coordinator), Lauds (Praise High Day) section of the show: The action starts as the corps Mark Gunderson (music coordinator), pushes forward against external conflict, internal Brian Belski (brass arranger), Matt by Ron Nelson limitations, and resistance. Altmire (percussion arranger), Jeff Lee (percussion arranger), Chris Push In the emotional second part, the music pulls our Cowling (visual coordinator), Steven heartstrings while the movement pulls the corps Estudillo (drill designer), Angela by Robert Smith into a new shape. Tousley (visual designer), Ralph Pace (visual design consultant) Adagietto (from Symphony Part 3 brings a twist as things start to braid, coil, Brass No. 5) knot, and tangle. We see new twists on old ideas as Brad Davis (caption supervisor), the percussion, brass and guard intertwine. Jon Bradley, Eugene Fabiero, by Gustav Mahler Mark Gunderson, Eric Hemingway Finally, things turn, shift, and change directions. (intern), Phillip Inzerillo, Adam Wolf Pianos (from Serenada The twisted knot becomes a rotating block. Shapes Percussion Schizophrena) and musical phrases recombine to create continu- Matt Altmire (caption supervisor), ous action as Pacific Crest turns up the energy for Andrew Bill, Lucas Critchfield, by Danny Elfman the show’s climax. Mark De La Vega, Chris Doolittle, Vince Gardner, Brandon Kovacic, AirLink Brian Stockard Color Guard by Jack Stamp Angela Tousley (caption supervisor), Jennifer Barton, Marie Caryle, Kelly Davis, Louie Flores, Homer Lopez, Jenny Manio, Antoinette Ochoa (intern) Visual Chris Cowling (caption supervisor), Pablo Coppola, Steven Estudillo, Chris Henderson, Matt Lackey, Garret Lopez, Jackie Meyler, Gene Monterastelli, David Pham Physical Conditioning David Ifergan Student Leadership Adrian Rivas 8 2011 DCI Souvenir Yearbook