Drum Corps International 1992 Yearbook

• A n n • I ~(f~ 1-i~ RUM CORPS INTERNATIONAi~ 1072c619()2 ® o m i· v e • P . r o g r a m

Publisher Drum Corps International Editor Julie Hoffmann Copy Editors Mary Pandolfo Tami Vogel Ken Honsberger Writers Michael Boo Steve Delaney Julie Hoffmann Don Pesceone Tami Vogel Photographers Dale Eck Jolesch Photography Jim Heckman Walt Niekamp Programs Designed &.. Produced By WYN Marketing Group, Inc. Production Coordinator Stephen C. Patt Creative Director Ken Dahl Materials used in the photo spreads in the historical section were furnished by: DCI, the Troopers, the Bluecoats, Tim Meals, The Lake Erie Fanfare, and alot of dedicated fans who have donated memoribiliaover the years to DCI. Photography for the photo spreads was furnished by WYN Marketing Group, Inc. Material in the special historical section was prepared by: Steve Vickers, publisher of Drum Corps World in Madison, WI, and his staff. Drum Corps World contributors of historical information Include: Dave Scott from Florissant, MO, Paul Stott of Toronto, ONT, and Brian Tolzmann from Forest Lake, MN. Photographers include: Mark Boisclair, Jane Bouten, Elinn Cefaratti, Ron DaSilva, Dick Deihl, Bill Dixon, Jim DeVine, Jim DeWitt, Dale T. Eck, Beth E. Eckert, Roger C. Ellis, Ed Ferguson, Moe Knox, Paul Lambert, Steve Lisenmayer, Art Luebke, Donald E, Mathis, Eddie Montville, Dave Page, Paul Rodino, Sid Unser, John Wacker, Orlin Wagner, Robert B. Watson, W .H. Weber, Allan Winslow, Ruben Zapata and Joe Zepka

N\\ -. 'Cable ®/ 6'ontents ·.~ Message From The President ................. 2 Southwind .......................................... 46 Message From The Chairman .................. 3 Spirit of Atlanta ................................... 4 7 Message From The Governor ................. 4 Star of Indiana .................................... 50 Message From The Mayor ...................... 4 Schedule of Events ............................. 51 Acknowledgements .............................. 5 Troopers ............................................. 5 7 Friends of DCI ........................................ 6 Velvet Knights ..................................... 58 Executive Committee ............................. 8 Dallas Brass .......................................... 59 DCI Personnel ...................................... 11 Future Corps ...................................... 59 Reflections Of The Executive Director .. 12 Lights, Camera, Action ........................ 60 Black Gold ........................................... 17 Volunteers of the Year ........................ 63 Blue coats ............................................. 19 Division II & Ill ...................................... 64 Blue Devils ........................................... 20 DCI Through The Years ........................ 66 Blue Knights ......................................... 21 Hall of Fame Award ............................ 90 Boston Crusaders ................................. 23 DCI Expo 92 ....................................... 92 1 Cadets of Bergen County ..................... 24 Regional Score Recap ......................... 94 Carolina Crown .................................... 25 More Than A Judgement Call .............. 95 Cavaliers .............................................. 26 Behind The Scenes .............................. 98 Colts .................................................... 29 A Night To Remember ....................... 100 Crossmen ............................................. 30 Individual & Ensemble Sites .............. 103 Dutch Boy ............................................ 31 Schedule At A Glance ...................... 104 Freelancers .......................................... 32 Glassmen ............................................. 33 L'lnsolite .............................................. 36 Madison Scouts ................................... 37 Magic ................................................... 39 Marauders ........................................... 41 Phantom Regiment ............................. .42 Santa Clara Vanguard ........................... 44 DRUM CORPS Sky Ryders ........................................... 45 INTERNATIONAL 1972 cB 1992 ®

II I~ A Message rche 9!2reszdent From ... THE WHITE HOUSE WASHINGTON I am delighted to send greetings to the partici- pants, sponsors, and fans who are gathered in Madison for the 1992 Drum Corps International World Championships. Special greetings to our guests from other countries, and congratulations to the members and friends of DCI on its 20th anniversary. This annual event showcases the talents of individual performers while bringing the full flavor and excitement of drum corps competition to thousands of appreciative spectators. Each participant can be proud of the discipline and teamwork that made this trip to Madison possible and of the fine example that you have set for your fellow students. I commend all those who are associated with this special competition for your outstanding efforts, and I wish each drum corps the best of luck. Barbara joins me in sending best wishes for a successful competition. ( A . . :

7 N\\ I A Message e <Yhairman From ... ,,,. ® Welcome to Camp Randall Stadium and the 1992 DCI Summer Music Games Championships. Since the first DCI Championships were held in Whitewater, it seemed only fitting that we return to Wisconsin to celebrate our 20th Anniversary. As you take part in the DCI Alumni Reunion and Opening Cer- emonies on Tuesday, take a moment to reflect on how far the activity has come and all the time and love that individuals gave in order to provide this opportunity to our young people. On Wednesday, DCI and the corps show their appre- ciation to you, the fans, with Fan Appreciation Day. Without you, we couldn't have done it. join us during the week to celebrate our champions; each corps and young person who performs. Remember, there are no losers - anyone who has commit- ted to a long hot summer of the hard work it takes to belong to a drum corps is a winner no matter who takes the trophy home. These young people will continue to apply their drum corps experiences and sense of dedication and determination to enrich and guide their everyday lives. On behalf of all the member corps, the DCI staff, and everyone who has helped create this event, I want to thank the City of Madison for their wonderful coopera- tion, and invite drum corps fans from all over the world to continue to enjoy the many exciting Drum Corps International events. So now, relax - sit back - and enjoy an evening of unforgettable entertain- ment. Sincerely, ~~~ YI

I I 'v\\ \\ ( f . A Message 'Che cf;ovemment From ... Governor Office of The Mayor State of Wisconsin Greetings: Greetings: On behalf of the people of the City of Madison, I am pleased to welcome you to On behalf of the people our community and to the of the State of Wisconsin, Drum Corps International I am pleased to extend a (DCI) 1992 World Champion- warm welcome to all ships. We are honored to those gathered in Madi- once again be selected as a host site for a DCI son for the 1992 Summer Music Games sponsored event. World Championships. We are happy to My warmest regards to the youths, their host this special event as Drum Corps families and the spectators gathered in International celebrates its 20th anniver- Madison this week for the '92 season finale. I am sure you will find Madison to be a hospi- sary. table city that takes pleasure in sharing what will hopefully be a sunshine-filled week for the Lifetime qualities are forged through early drum and bugle corps competition. arts experiences, and Drum Corps Inter- I commend the 8,000 youths that make up national provides an excellent the top drum and bugle corps in the world on opportunity for young people to partici- their intense dedication, discipline, physical pate in many exciting competitions effort and talent which combine to create this throughout the summer. These young unique form of entertainment. performers have demonstrated outstand- If you do find that you have some free time during the competition, you might enjoy ing abilities and dedication; they have touring the State Capitol and University worked hard and I am pleased to salute campus, visiting some of Madison's fine them for their efforts. dining establishments or shopping on State Street. You will find that the restaurants and My best wishes to all for a wonderful stay stores are first-rate. in Madison and a fantastic week of music We in Madison are proud of our public and pageantry. seNice, our quality of life, our people and our beautiful city. We are pleased to be your host. Enjoy Wisconsin! Again, a sincere welcome to you. Best wishes and good luck. Sincerely, ~1::: Governor J

Drum Corps International wishes to thank the fo/Jowing for their outstanding support in making this show possible. ¥ Larry and Benita Aldrich ¥ DCI Foundation Welcome Booth Volunteers ¥ Camp Randall Stadium officials Bob Irie, coordinator ~ Al Fish ¥ First Wisconsin National Bank, Melody Essex Mike Greene ¥ Forbes Meagher Music Center, Fran Durran and Sid Goman John Hedberg Scott Gomez ¥ Suzy Hale, Alumni Party Coordinator ¥ Capitol Times- ¥ The Madison Area School Districts which Phil Haslinger provided housing for the 71 participating corps David Zweifel ¥ The Madison Scouts Drum Corps and Boosters ¥ Championships News SeNice ¥ Greater Madison Convention &. Visitors Bureau Steve•Delaney, Bureau Chief Bill Geist ¥ Coca-Cola, Bob Mietz John Connolly ¥ Cook, Inc. ¥ Madison Metro ¥ DCI 20th Anniversary Committee ¥ Pearl Corporation Bob Skuggen, Chairman ¥ Dan Potter ¥ DCI In Madison Committee ¥ Remo, Inc. Co-Sponsor of I &. E Steve Vickers, Chairman ¥ S.O.M.E. Co-Sponsor of I &. E Dan Omilianowski, Corp Housing ¥ University of Wisconsin-Madison Gary Fox, Parade ¥ Ward-Brodt Music Mall, Megan O;Leary Tammy Sullivan, Madison Box Offices ¥ WISC-TV, Nan Roach Nancy&. Tom Schmelzer, Corps Hosts ¥ WMGN Magic 98FM, Bill Vancil Phil Powers, Poster Distribution ¥ Yamaha Corporation - ¥ DCI Contest Staff Sponsor of Dallas Brass performance ¥ DCI Expo '92 Volunteers ¥ All of the volunteers who helped with the various Barry Seltzer, Floor Mgr. aspects of organizing the event in Madison. ¥ DCI Foundation Steve Ferguson Bill Finch \\

p ~FRIE'NDS 1111 OF DCI .,., Drum Corps International extends its most heartfelt \"Thank-you\" to all the Friends of DC/ who have contributed to the drum corps activity. This year, during our 20th Anniversary, we would especially like to thank the charter members of Friends of DCI. These special people have grown with the organization and continued to support it, since its inception in 1981. Friends of DCI has grown to more than 500 individuals, corporations and organizations who contribute to such projects as Volunteer of the Year, the Summer Music Games Broadcast and many other promotional activities. Funds generated by Friends of DCI offset operating costs of DCI, resulting in more money being returned to its member corps at year-end. Contributions to Friends of DCI are tax-deductible to the fullest extent of the law. Benefits may include premium seat tickets, audio and/or visual recordings, merchandise and hotel discounts. For more information on friends of DCI write to: P.O. Box 548, Lombard, IL 60148-0548. To all our \"Friends\" - THANK-YOU! GOLD Scott Pickering Thomas Brown Richard and Yvonne Gibbs CHARTER MEMBERS: Jayson and Micki Wing and Mack and Carol Pittard Terence Buck Robert and Susan Gottsacker Bob Alvarez Phil Raskin Robert T. and Fernande Burgher Gilbert Gray John and Joan Falcon Floyd Rodgers Frank Grimaldi Richard Brackett James and Kimberly Buxton Jirair Dadourian James L. Bramick Rob and Michalene Roy Vincent and Kathleen Carino Sara M. Gusseck Lou Budd Richard and Alma Sennett Don and Nancy Carson Rene Guzman Paul and Helen DiPaola John Calabrese Jill Smith Cassius and Lisa Carter Robert and Carolyn Haiduck David and Gwen Carlysle Lynn Stipick Edgar and Dorothy Casada Robert H. Hall Harry and Marjorie Flasher Keith and Melanie Hall Bryant L. Carter, Jr. Bill Sweeny Dennis and Greg Mumford, Remo Incorporated Kevin Coleman John and Cherrie Terry Charles Wise, Gary Wolfgang john and Lisa Heckman Andrew and Dan Cucchiara and Robert Butt Larry Virgallito Folmer and Janice Christensen Billie, John and Randi Heinold Wayne and Karin Karge Richard and Judy Eichhorn World's Worst Marching Band Joe and Jackie Chunko Robert Scott and Linda Henderson Steve and Susan Eklund Paul and Dolores Warnshuis jerry Connolly Robert Henn Paul and Patricia Therault William and Lola Epperson Allen and Lynne Webber Walt and Sue Counts Mark V. Herzing john and Joan Falcon Kyle and Pat Weigel Michael and Annette Creedon Keith and Hilsinger Paul Fierro Bruce and Sammie Wieser Walter Crouch David and Howard Hoffman CORPORATE. Robert and Eleanore Fletcher john M. Wiesman John and Donna Cullen Douglas C. Holden Pearl Corporation - Robert Morrison Kevin Flynn Kenneth Wilder Mark and Jane Culp Fred and Ginnie Horton Remo Incorporated - Rob Carson Robert D. Fowlkes David W. Wood Jirair Dadourian William and Diane Howie Yamaha Corporation of America Pierre and MaryEllen Guertin Florence Votapka &. Philip Zulas Paul and Mary Lou Dehmer Richard and Karin James - Christie Cierlak Larry and Bonnie Guinn Dick and Cheryl Dembosky Scott Johnson Daniel and Marsha Hahn SILVER Paul S. and Helen E. DiPaola Glenn and Louise Johnson PLATINUM Keith Campbell and Bruce Hammond Albert Abrams Marie-Elise and Stephen Diamond john W. Kane Larry and Benita Aldrich William and Lee Hanes James Ainey James A. and Susan G. Dobson Charles Kartsonis Vicki Giles and Stephen Auditore Thomas Hannum David and Stephanie Albaugh Steven Dombrauskas Aram and Anne Kazazian Avedis Zildjian Company - Rubye Del Harden Joseph and Joan Ancona Mark Donnell Harry and Marion Keiper Leonard DiMuzio Robert and Beverly Harris Les Anders Kevin and Keith Douglas Clarke and Carolyn Keys David and Marie Cole Harold and Elaine Hart Carole Rush and Richard Andler Philip A. Earnhardt Tom and Diane Klecker Bill and Gayle Cook Bill and Linda Helm David and Martha Ayars Russell and Sheri East Ralph and Shirley Klingbeil !!!!'!!l DUO Corporation - Christine Hoeffner Mark Ballard Janet Eisenhart Edward and Karen Kothbauer Jin Nakahara and Toshihiro Hori Wayne and Karin Karge Doug Barduhn - Inland Fire Protection Stephen Emery Chad Krause International Training Group - Philip Knisley Leonard 'Len' Bartello Dotti and Todd Falkenstein Elizabeth Krebes David Glowatzke Robert and Robbie Kuske Arnem Batubara Lee and Betty Federico Abraham Lambrechtse Dick and Robin Janae Dan and Kim LaMacchia Ted and Jan Berg Harry and Marjorie Flasher Kirk and Sandy Larter Ludwig Drum Company - Ron Leake Kelley Bransom and Kim j. Beveridge Lee Foster Dick and Susie Leathers James A. Catalano Mark Manguno Charles and Andrea Bilics Dale Freck David Lefebvre Madison Scouts European Tour Fans Edward B. Martin Jeff Bishop William and Carol Frencl Arnold and Suzanne Lehto Bill and Pat Parker Carl Scott Miller Curt and Kendra Bittner Joe Fronsee Edward and Holly Leifer Pride of Cincinnati Foundation Orville and Marilyn P. Miller Jr. Gregory Bomberger Loreen Fujinami Mark A. and Colleen Leifer Ken and Patty Richardson Harold and Evelyn Moore Arnold Barron and Mona Boord Sandra Gagne Fred and Roxanne Lenway Sabian Limited - Roy Edmunds Joe and Sandi Nirschl Sid and Ida Bowman James W. Gault Joseph Leone Bob Skuggen jack and Pat O'Connor Jim Brassard Donald and Jacquelyn Getzen W. George Levesque 6

Paul and Renee Lichau Michael and Bob Whitaker William and Phyllis Neuleib Jon and Marcia Davis Dennis and Sharon O'Hara john Lohr Roger E. and Judy Anne White Michael and Nelda Novatnak Albert and Marie DiCroce Kenneth and Judith O'Neal Kent and Doreen Long James R. and Phyllis T. Whittenton Robert and Joan Ozello Lawrence Dilley Kristin L. Oberhaus Timothy S. and Karen K. Long David Wickerham Nikolas and Judy Peacock Brian K. Domenoski Scott and Betty Olisar Lester E. Lute Kevin M. Williams Michael and Lisa Pinevich Michael Doyle Robert and Patricia Ortlip Martin W. and Lisa Madden Sid and Linda Witts Bob and Linda Poggensee William and Marilyn Dresser Aaron and Marlene Palmatary john Mahoney Witts Communications Dennis Rathman jerry and Patricia Ealing Gerald I. Paluch john Matthews john and Rosemary Young Robert and Julie Reynolds Dana England Robert C. and Sharon C. Piotrowski Kyle and Lisa Maxwell The Steven Young Family Mike and Lauren Ripley Bob Evans William and Natalie Plakos Susan Maxwell Ron and Jane Zamorski j. Robert Scanlan David Fisher Robert and Dorothy Pope Michael McClure Bruce and Peggy Zembower Stuart j. Schowalter Ellice K. Ford Kirk Postier Brian and Hope McGookey Alan and Carole Zuelke Torkjell Sekse William S. Gallagher Larry G. Ray Greg and Jackie Melton James and Kathryn Smith Ken Gareis Rosemary Razeghi Joe DiScipio and Michelle Barry BRONZE Manuel and Jane Sotolongo Marcia Garmer Charles E. Ricedorf Greg and Pat Moore Brian Alexander Paul Van Horn and Paul H. Spencer Matthew Gates Lake and Barbara Richart Jim and Debbie Neidinger Larry and Sonya Arthington Robert Strine Gregory and Janet Gecowets Jeff Ruderman Robert and Carole Ottum Dan Barnett Thomas and Beth Sweeney RobertGillotte There's Only Music Stuff Chicago Staple Company john Bauscher Daniel and Tammy Wildonger Wendell D. Gordon Frank and Grace Schlegelmann jean-Marc Patoine Timothy Belding Satomi Toda Nancy H. Grab Paul and Barbara Schwartz ,,,. Arthur and Jill Petrini Don and Jennifer Berg Jim Wolf Marlin F. and Cynthia A. Gramley Mary Helen and Bruce Scott David and Connie Pilz James L. and Bette Bergschneider, D.D.S. Robby Wright Ron Grimes and Jim Grick Yoshinari Shimizu Steve Proctor Tom and Janet Burkhart Harry Yuen Douglas Grimmer Arthur Sievers Randy and Janet Rehmer James Churchill Paul Zuelke Ken and Becky Hacker Lee and Margy Sommerfeld Lillian Richardson Paul and Ruth Collins Robert W. Zuercher Winnie and Richard Hackley Joyce Sparks junior Ricketts Steve and Cheryl Corcoran David and Joyce Hamilton Colby and Betty Springer Robert and Kathy Rieter john R. Davis FRIEND Robert j. Hansen Richard Spurlock Jim and Renee Lillibridge and Jeff Root Chris and Leigh Davis Robert and Dorothy Abbem Charles Harbour Frank and June Stangler Ron and Margaret Rose Wresch Dawidjian john S. and Phyllis M. Aldrich Guy Hebert Larissa Stouffer David Rush Henry Delao Art and Diane Alt Lawrence j. Helstern Mike Strasser Juan Ruz Beverly Dean Thomas and Mary Ann Andrews David B. and Doris E. Henderson Michael Stroud Tom and Donna Ryan Mary j. Kaltenbach and James and Marilou Angevine Darren Hicks Barbara Stephens-Rich and Samuel and Rose Mary Saliba Dennis R. Howland W.G. Austin William C. and Joan Hill Stuart Stephens Joseph and Michelle Salvatore George E. Dixon Bruce M. and Natalie Bakken jay and Paula Holmes Matthew Sweeny Ken Samara Kenneth and Anita Draska Robert Baldus Robert and Lynne House Youth Encouragement Systems Michael Scheiding Steve C. Eaton and James Kevin Benson Beth Barnett Dana Howen Darrell and Nancy Tarnow Paul j. Schneider Paul Eckart Marta j. Barrett john Hudson Robert and Lydia Tate Jim and Sharon Schwabauer Jon Farbman - Drill Master Corporation R. Wayne Barron Michael Hughes Wallace W. Thayer Michael Schwarm Jim Fehlberg Cary Begun Joe and Mary Lou Ingham john and Elaine Thoma Ken Schwartz Sanford and Ila Fei bus Gregg Anthony Blocher Earl and Lois jack jennis F. Thomas Jeffrey Sprader and Scott Brahm Craig Fick Charles F. Bonish D. Lee and Brenda S. Jackson Dean and Rosemary Tierney Dave Seagle David Finn john Braby David K. and Rebecca Jackson Reilly Tillman john and Pearl Shafran Elwanda Floyd Eric G. Brandhorst Clynell Jackson, Jr. Kenneth D. and Betty B. Turvy Leo and Arlene Shatzel jay and Betsy Friedman Byron Bransom Richard S. and Alice M. Johnson Richard and Karen Tyson Jr. James Sheeley Jr. Makoto 'Mack' Fukuda Dennis Breidenstein Peg Johnson Robert and Dorothy Valen Charles and Melody Sickmeier Roger F. Gehling Scott Bronnenberg Mark and Renee Jones Joseph and Rosemarie Victoria Theatre House Jackie Gilley Andy and Maureen Brouillard Donald junker Peter Vogler Stan R. and Suncha Singleton jack and Barbara Goffman Dixie Y. Brown Keith A. and Mary Ann Kaye Joseph F. and Cecilia S. Vukasovic Henry and Debbie Sliwinski Lawrence Goodman Marianne Brown George and Neltia Kettleson Marynell Westdorp Brian Smith David and Joann Goss Mary Brudvig Alden and Maryann Krueger Michael Wilson john Stadtmueller Charles Haberman Leo P. Bruederle Paul Kuestersteffen Paul and Dorothy Wittenberg Darryl and Carol Ann Stalter Henry Heyzer Eric Brush William E. Kyle Donald and Janice Wurz Eugene and Judy Strine Gary Holman Alfred Buchanan Ill Jim Laurendeau Ron Zimmer Michael Supko Jr. Joe Hooper Lynn and Peter Burke Lance Lee George T. Zuricl< Robert &. Ann Sullivan Tyson E. Houchin Gary and Marie Burseth Kenneth A. Lewis A. Terry Sweet Richard and Betty Jenkins Gene and Marjorie Button Billie B. Loofbourow Richard H. Talbott Dorothy Keller Mary M. Cannek Joseph Lovenguth Dale Termunde Jim Kennedy Fergal P. Carroll Richard MacGregor j. Michael Terry David King Gretchen Chamberlain Steve Madaris Paul and Patricia Therault Joe King Philip Chisholm James j. Magnino j.R. Thompson Stanley and Barbara Landgraf David and Laurie Cole Roger Marinich john Trambley Mark Leidich Barry and Linda Collins Richard C. Mark Brent Green and Troy Schmidt Sean Michael Lester Charles F. Conklin Cary and Geri Marshall Joe and Sherril Truscio Olin and Janice Mace William and Maureen Connelly Brian j. Maxwell David and Nancy Vaughan Gerald and Mary Sheila Machajewski Darrell and Carolyn Cook Daniel McCarriar Robert and Teri Wall jerry and Lynette Mahacek R.W. Coombs Terrence Meier William and Karen Wall Mark and Kim Messmer Sandra Crolick Robert Miezin Brian and Helen Warr Robert Mitzel Jeffrey S. Cutter Andrew and Karen Mix Allen Duane and Patricia Webber john Montignani jack Daball Frances A. Monte Robert and Carolyn Wehling Dayton Nakahara Alan D. Davis Allan and Patsy Moody Wayne Wengert Wayne Nelson William L. Davis David O'Hara \\, '

Chairman Executive Director Ted Swaldo Donald Pesceone Bluecoats Vice Chairman Secretary Treasurer Mark Arnold David St. Angel George Hopkins Blue Knights Phantom Regiment Cadets ofBergen County Member-at-Large Member-at-Large Member-at-Large Greg Orwoll Carl Ruocco Larry Aldrich Colts Crossmen

Member-at-Large Member-at-Large Chairman Emeritus D. Michael Fox Stephen Auditore Gail Royer Santa Clara Vanguard DCl's Board of Directors Drum Corps International was formed in 1972 as a cooperative effort by top drum corps from the United States and Canada. The purpose of the organization was to organize their show schedule to accommodate touring, hire and teach judges in order to improve the quality of service to the corps, and to give corps the power to determine the direction of the activity. From those humble beginnings, the number of corps involved in the organization grew. The directors of the corps had a voice in their destiny as they became the organization's Board of Directors. The Board of Directors were originally the directors of the top 12 corps. That later expanded to include directors of corps that had achieved DCI Membership by placing in the top 25 corps at the DCI World Championships Open Competition. For the purpose of stability, voting power was limited to those corps directors whose corps had maintained membership status for three consecutive years. Each of the DCI Member Corps is featured in this book with photos and an overview of its program. Each DCI Member Corps director pictured on the page with his respective corps is a member of the DCI Board of Directors. Competitive issues, such as judging, scoring systems, rules, structure of the competitive events and scheduling must have the vote of all 25 member corps. The voting members of the Board are responsible for ratifying policy and business programs presented to them by the Executive Director and the Executive Committee. DCl's Executive Committee consists of the Executive Director of DCI, the officers of the corporation and two at-large members elected from the Board of Directors, and professionals from outside the drum corps director realm . Restructuring of the Committee in 1991 created three at-large positions which, for the first time in DCI history, were to be filled by non-corps directors. The purpose was to bring the expertise of professionals from the fields of marketing, finance, business and other areas to the table. Unencumbered by competitive issues or ties to a specific corps, these committee members could bring a new perspective to many areas affecting the activity. A nomination committee reviews applications for the at-large positions. It also solicits nominations for the officers of the corporation from the ranks of the Board of Directors. The voting members of the Board of Directors then elect the members of the Executive Committee who are pictured on these pages. 9

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JULIE HOFFMANN Manager of Publicity &.. Promotion Convention/Travel Coordinator CHRIS PELAN ERNIE ZIMNY Order Supervisor/ Shipping &.. Inventory Data Entry Control DC/ Contest Director

I I~ \\ An introspective look at DCI'!i past and future by Donald Pesceone, DC/ Executive Director the activity needed in order to survive through the coming decades. It's difficult to believe that twenty summer Drum Corps International has achieved all of seasons have passed since thirteen drum corps those objectives and more. It has built vast directors met in Indianapolis, Indiana, and new audiences for the drum corps product by founded Drum Corps International. showcasing the activity's finest to millions on The concern and apprehension of DCI' s television and on tours throughout North founding fathers, as to whether or not they had America and the world. It has established the done the right thing for their organizations activity as the \"State of the Art\" of music in politically, came to an end when they saw motion throughout the world. drum corps from all over the United States and DCI' s \\,Vorld Championships have been Canada sign up for prelims at the first World televised all but three years of its existence. Championship in Whitewater, Wisconsin. Their In 1989, world famous sportscaster Curt apprehension built into excitement and confi- Gowdy introduced the Drum Corps Interna- dence as an audience of nearly 7,000 filed tional World Championships Finals as the through the turnstiles for the first DCI World \"Summer Music Games\" World Champion- Championship Finals. ships, for he first time. Two years later, in They knew that they were the finest drum 1991, ninety-four percent of the stations on corps in the activity. They also knew, that on the PBS network carried one or both of the DCI the third Saturday in August, 1972, junior drum broadcasts, ranking it as one of the network's corps would crown its true champion for the top programs. No other music competition first time in the activity's history. What they can make that claim. No other music compe- didn't know was whether or not the other drum tition is even in that league. corps and their fans would support them. In 1983, the Dagenham Crusaders from Every minute and second of the past nine- England were the first drum and bugle corps teen years has been filled with excitement, from overseas to compete in the DCI tour and thrills, advances, change, concerns and pain. DCI World Championships. Since that time, In looking back, every experience has been of one or more drum corps from Holland, En- quality. All the change and advancements gland or Japan have travelled to North have been in the best short and long-term America nearly annually to compete in the DCI interest of drum corps. Summer Music Games Tour. Last year, the The forum for open debate and drum corps' Phoenix Regiment Drum and Bugle corps from control of its own destiny were the objectives Japan qualified for the Class A-60 World of those original thirteen directors. The busi- Championships Finals, placing fifth, a signifi- ness of drum corps, the judging of its cant achievement for a country which had competitions, its marketing and promotion, never heard of drum and bugle corps prior to were all a part of the change they wanted and 1970. I

But, like everything that changes and and souvenir sales earnings. Presently many evolves, new and unforeseen challenges come non-DCI member drum corps have little or no forth ... larger in scope and more complex in performance activity after the middle of July nature and certainly more challenging. when the DCI Tour begins. One of the priori- In the next twenty years, drum corps will ties of the master scheduling program will be come to terms with the fact that it's an enter- to address that problem head-on. The need tainment product at all of its levels. It will to develop and expand the summer event realize that, in order for it to continue to be a schedule and re-package the events in order worthwhile activity for the young and old who to better market all of the kinds of drum corps participate, it must have life. In order for it to is an important aspect of our future. have life it will have to find ways to better The changes that the activity has made manage its resources and creatively develop its through the two decades of Drum Corps potential. International have not all been to our fans' Those of us who have watched the drum liking. Those of us who have been able to corps activity over the past twenty years know accept and/or adjust to the musical and visual that the finished product every August gets style changes that have occurred have, for the better and better. It's more creative, more most part, been excited by what we've seen. colorful, more visual, more musical, more Change happens ... no matter how much we exciting and breathtaking each and every try to prevent it. season. It's always in a state of change. Every If one tries to compare one generation of level and kind of drum corps has improved. drum corps to another, we often have diffi- However, its product life is too short to culty accepting the differences. Drum corps generate the revenue it requires to continue in through the decades has always been an its present direction. Realizing this, we know it exciting and satisfying experience for those is necessary to expand the program and its who do not compare, but rather savor the market. Not necessarily by lengthening the memories of the earlier products and pro- competition season, but by developing and grams and cherish them for the standards producing more events to reach bigger and they set and achievements of their time. broader audiences within the season. These What do we have to look forward to in programs are in the works. DCl's next twenty years? Will the activity be The DCI World Championships site selection bigger and better? You bet! Will it be cre- project was one of the first such programs. It ative, fast moving and exciting? Yes! Will we sets the stage for the activity to plan its summer again say that it can't get any better than schedule for the next fifteen years. This will this? Of course! Our young people don't offer us the opportunity to strengthen our know they're doing the impossible ... they just publicity and promotion programs in each of do it. our championship cities. We can better de- velop and package fund-raising projects as well as develop long-term corporate participation in DCI events. The result will be increased rev- enue to help the drum corps continue to grow. Master scheduling all of the DCI and regional associations' competitions is another improve- DRUM CORPS ment that will help to maximize the drum INTERNATIONAL corps' competition scheduled, performances 1972 c6 1992 ® \\

McDonaldS Salutes DCI On Its 20th Anniversary • BIG MAC® Sandwich • Large Fries • Medium Soft Drink 1 We re close by, only 2 blocks away! One Block East on Monroe One Block North on Randall, at 1405 University Avenue CiOODTIME. CiREAT TASTE: 14

HURRY, Order this week and SAVE I 800 Video Express brings the DC/ SUMMER MUSIC GAME videotapes from Madison, Wisconsin to your home ... In Hi-Fi Stereo. All corps' performances, Thursday through Saturday, including Quarterfinals, Semifinals and Finals will be available. Stop by our booth today and pick up your INSTANT VIDEOS (First Generation, multiple-camera). Ordering Details To take advantage of this discount, orders MUST be placed August 10-15, 1992. This on-site discount cannot be used with any other special offers. All orders not picked up during the championships' week will be shipped UPS, within 6 weeks from August 16, 1992. If mailing your order, list the exact videos you wish to order, as all sales are final with no cancellations, returns or substitutions. Send all orders to 800 Video Express, Inc. P.O. Box 142 Palatine, IL 60078. Please enclose the following amount with your order for shipping: $4 U.S., $12 Canada, $50 Foreign orders.

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• • R.R. Tolkien touched a nerve when he wrote \"The Lord J. of the Rings\" in 1955. The book fascinated and capti- vated millions of young readers, many wno otherwise didn't particularly enjoy reading. In its eventual trilogy form, the story of the Hobbits etched a niche in the world of literature that has been copigd but never duplicated. The trilogy inspired Dutch composer Johan de Meij to write his first symphony, \"The Lord of the Rings;\" a programmatic depiction of the life of the peaceful, elf-like Hobbits. Black Gold brings the music and story to life, with the guard always portraying the literal side of the story. Gandalf\" is named after the wizard of the trilogy. The guard expresses his wise and noble personality by '' wearing hooded capes and carrying flags portraying large rings. A stately and powerful introduction builds up to a fanfare motif, followed by an unpredictable allegro section echoing the movement of the title character. A high velocity ending captures Gandalf's wild ride on his horse, Shadowfox. \"Lothlorrien, the Elvenwood\" takes us into an enchanted forest of trees and birds-a • • magical, tranquil place of repose. happy folk dance expresses the lighthearted and • • A cheerful nature of \"Hobbits,\" while the following hymn • expresses their gentle personality. A restatement of the • • • \"Gandalf\" fanfare dissipates as the corps moves into the upper corner • of the field, carried by a .giant sail of a ship that carries Gandalf off • beyond the horizon in a mood of resigned bliss . • •• • • corps information: mailing address: • P.O. Box 54283 Tulsa, Oklahoma 7 4155 • p one: (918) 838-9700 ■ • ducto Josh Davis 1992 repertoire: \"Lord of the Rings\" - Johan de Meij • Sue Tolbert ff coo na- xecutive s tant: Stephanie Lancaster r ♦ r: Wayne Bovenschen • ng Dr. Robert Dunham ♦ l • • Teachout, Steve Vento, Dan Berard p cus io rangers· Wayne Bovenschen, Chris Harris cuss Chris Harris, Tricia Bovenschen, John Robinson, Rob Miller au · ·a Jerry Merlau, Leon Sieve (assistant) x·hary sign r. Wes Cartwright su I design Alan Mueggenborg uals Darrin Davis, Diana Doyle, Rich Bahner, A. Brian Smith • • • •• • • • • Alan Mueggenborg • • - • ~ • • • 17 .. l ·t• director • • DCI Board Member •• .... -~ f --~· .. • • r.,/1• .. •• . t -••

Some Small Comments About a Big Deal From Some Big Names A lot of people have asked us to explain why the new FFX snare is such a big deal. Well, we decided By removing all the tension since there are so many reasons, we needed a little casings the shell is allowed help from today's leading percussion authorities. to resonate freely creating a Bob Morrison -Director of Marketing, Pearl Corp more vibrant drum. And on the other hand, this new edge This six ply all maple ring redirects the batter head shell just screams tension away from the shell. with all that messy Tom Aungst - Cadets of hardware removed. Bergen Co. The projection of this drum is unbelievable . any way you look at itl And this new aluminum hoop can withstand even the most extreme tension. This drum even has a throw- Matt Savage ofL unbelievable. I can set the Dutch Boy snares at any position between on and off, and it holds! Bruce McConnell Canton Bluecoats Wow, 14 individually tunable synthetic snares with a quick release for fast head changes. Hey, the adjustment knobs really work .. even when the snare is onl Scott Johnson Santa Clara Vanguard With all these features and a two year warranty, you'd expect this drum to be a real heavyweight. No This drum has six air vents I No wonder it way, at under 16Ibs. it's lighter than any other drum in sounds so great, and check out these snare it's class ... even with all these guys hanging around. guards. Now that's what I call a snare guard I Thom Hannum -Star of Indiana consultant Marty Hurley -Phantom Regiment The FFX Snare Drum from Pearl. Louder, stronger and Drum's most important feature. Precision. lighter in weight, it's no wonder Strength. Quality. Tone. There were just too many everyone's making different comments. to choose from. But they did reach one decision ... : .-/A~/\\·•:. Even our assembled group of percussion this is the biggest ., 'IHE 1992 SUNIIER experts could not agree upon the FFX Snare drum they've ever seen. MUSIC yja,a/. GANES Pearl is proud to be a sponsor of the Take a little time to contact your Authorized Peal Dealer and find out for yourself what the big deal is all about. To get a FFX\"catalog send your 1992 Summer Music Games name, address and phone number along with $3 S/H to The BIG Deal, PO Boxl 11240, Nashville, TN 37211 The best reason to play drums.

he final words from the Beatles' \"A Day in the Life\" are, \"I'd love to turn you on.\" Bluecoats has taken to heart the desire to turn on its fans with a 1990's interpretation of some of the best loved songs of the 1960's. The show, titled \"A Day in the Life,\" treats the melodies in a \"Jazzaphonic\" style, combin- • ing symphonic orchestration with the style and harmonies of jazz. The • resulting new composition reflects the timelessness of the Beatles' music. nly the title and melody say \"Eleanor Rigby.\" Bold, brash 0 and progressive, the work owes more to 20th Century symphonic influences than to pop radio. Performed to a solid mass drill maneuver, a short introduction from \"Nowhere Man\" segues into \"all the lonely people,\" creating a visual paradox showing it is possible to be lonely in a crowd. Different melodies simulta- neously fight one another in various meters, adding to the musical ♦ anarchy amidst a clamorous call to a simpler time, represented by quotes from earlier Bluecoats' shows. eard in the contemplative \"The Long and Winding Road\" • H is a further reflection on the past, with metallic jingling sounds creating an aura of leaving the real world for a • • dream-like excursion through the fanciful reverie of the imagination . \"Penny Lane\" is bouncy and happy, alternating between a symphonic • version and a gritty jazz rendition. \"A Day in the Life\" advances from • • slow blues through a quicker swing on its way to the final destination, • the last hurrah, the closing chapter, \"The End.\" • •• • corps information: • corps address: •• P.O. Box 2733 ■ N. Canton, OH 44720 ♦ • phone: (216) 494-5720 • ■ drum majors: Andrew Bugosh, • Chris Miles 1992 repertoire: A Day In The Life- \"Eleanor Rigby, \" \"The Long & Winding Road,\" \"Penny Lane,\" \"A Day In The Life,\" \"The End\" tour • director: William Hamilton program director: Bret Mascaro program advisor: Joe Guadagnino • • brass arranger: Bruce McConnell brass staff: Bill Hamilton, Dave Rohrer, Marty Hollister; Doug Thrower percussion arrangers: Bruce McConnell, Tommy Blackerby percussion staff: Matt Baccoli, Pat McGowan, Matt Power, Rodney Smith visual designer: Bret Mascaro visual staff: Sylvester Sybilski, • •• Brian Bambauer, Chris Poglitsh auxiliary designer/ C choreographer: Lorenzo Medrano auxiliary staff: Chris Frick, Mamie Khin, Andrea Meyer costumes: Matt Catanzaro • Ted Swaldo • • l •• executive director -- . , • • • 19 ,.. •• .. • • ti DCI Board Member •• -..-.• ••

he most consistently successful drum corps in DCI history • World Championship. Since then, the Blue Devils has won didn't tour nationally until 1973, one year after the first DCI the DCI World crown six times, more than any other corps. The horn line captured the High Brass trophy 11 times since 1973, an incredible N batting average of .579 in baseball terms. Big, Bad and Blue\" represents a return to a stylie of Big Band and Latin programming that worked so well in the past. The newly coed guard characterizes passion and romance by visiting a hot, steamy, jazz club for a night of dance. After casually = sashaying onto the dance floor, \"Blue Light, Red Light,\" by Harry -~ . Connick,Jr., provides a swing backdrop for sultry blues dancing punctu- ated by screeching brass. Cuban Fire\" is a suite of Latin jazz by Johnny Richards. \"El Congo Valiente\" features a hard-hitting be-bop section, followed by an original percussion study in jazz and Brazilian/ African rhythms, reminiscent of Tito Puente's greatest moments. The lyrical \"Cuban Fire\" begins in a dissonant and sharp fashion, building into an intense ballad with snippets of scat playing offered by a horn duo. \"La Suerte de los Tontos\" (translated as \"Fortune of Fools,\" hence • • the giant dice) closes the suite with trilassive intensity and equally • massive flags. The Bette Midler's arrangement of \"When a Mcm Loves a Woman\" completes the guard's developing relationship with down 'n' • dirty rhythm and blues. • • • • • • • • corps information: mailing address: P.O. Box 21516 4065 Nelson Avenue Concord, California 94521 phone: (510) 689-2918 drum majors: I Al Go, Dan Ray color guard captain: Beth Koloski . . /fit . 1992 repertoire: B1g 1 Bad, and Blue - ♦ \"Someone's There\" - Harry Connick, Jr., • Valiente,\" \"Fuego Cubano,\" \"La Suerte de Los \"Cuban Fire Suite\" - Stan Kenton, \"El Congo Tontos,\" \"When a Man Loves a Woman\" spon- • sored by: The Blue Devils Parents Association program coordinator: Ramiro Barrera brass staff: Wayne Downey, Dave Carico, Gino Cipriani, Greg Hall, Mike Dennis percussion staff: Dave Glyde, Marc Jacoby, Mike Ateselp, Keith Higgins, Larry Cohen visual staff: Jay Murphy, Pete Emmons, John Sanchez, Steve Sanger, Paul Perniciaro auxiliary staff: Scott Chandler, T.J. Doucette, Laurie Riker, Beth Doebler • • . David Gibbs • director • ♦ ♦ •• .., 20 • .... • DCI Board Member ♦ • '

o composer better portrays America than Aaron N Copland. His soaring tone poems captured the essence of the country in a fiercely individualistic manner, filling images of natural beauty with grandeur and a sense of noble purpose. Copland particularly loved painting his musical canvas with the colors of the Old West. Blue Knights have used this palette to create \"Portraits of Aaron Copland.\" he composer captured the contradictory spirits of both T scoundrel and folk hero in his ballet suite, \"Billy the Kid.\" The corps produces a void at the beginning of the show by starting off the field, as a slow, melodic chant drifts across a vacant prairie of the Old West. Intensity rises to a chilling high as the initial drill form condenses, leading into a short section of frivolity. Suddenly a gunfight explodes with a volley of violent jabs from every section of the corps, with Western scenes such as cowboy boots, hats, spurs and cows imprinted on the individual flags. \"Corral Nocturne\" from \"Rodeo,\" and a selection from \"The Red Pony\" follow, painting a star- studded sky as night falls over the prairie. • melody often associated with Copland, \"The Gift to be A Simple,\" is the basis for numerous variations in John • • unexplainable vivid color change throughout the flag line startles the Zdechlik's \"Chorale and Shaker Dance.\" The sudden and • senses, leaving you with a lasting visual impression. • • • • • • •• • • ·~ • mailing address: • = P.O. Box 100789 ■ _,... Denver, Colorado 80250 ♦ phone: (303) 730-1919 ■ drum major: Ario Thompson • Portraits of Aaron Cop/and- \"Billy the Kid\" - Aaron Copland, \"Corral Nocturne\" - Aaron Copland, \"Red Pony\" - Aaron Copland, \"Chorale and Shaker Dance\" - John Zdechlik staff coordinator and assistant • director: Casey Smith program coordinator: Ralph Hardimon, A Special Thank You to George Zingali brass arranger: Jim Prime, Jr. brass staff: Barbara Moroney, Bob Wagner, Gary Brattin percussion arranger: Ralph Hardimon percussion staff: Steve Yates, James Steinke, Rick Rodriguez, Lamar Burkhalter, Paul Gansmeaur, Ben Maughmer drill designer: Jeff Gooch visual coordinator: Len Kruszecki visual staff: Jeff Gooch, Scott Marko, Kevin Droe, Franco van Heyningen auxiliary coordinator: David Lacy auxiliary staff: K.C. Michel, John Escalante, K.C. Perkins • •• ~ .. • Mark Arnold director • • ... • • 21 • •• 4• •• •• • ti ♦ ...... • • DCI Board Member • • ... • •

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• or the first time ever, Boston Crusaders performs an ~ entire show from just one source. Excerpts from Modest ~ Mussorgsky's incomparable \"Pictures at an Exhibition\" provide the corps with a powerful program loaded with straight- .&. ♦ ahead musical entertainment. Mussorgsky wrote the suite for piano in 1874, inspired by a memorial exhibition of artwork by his good ~· friend, Viktor Hartmann, a prominent artist, designer and architect, who died a year earlier. rranged from Maurice Ravel's masterful 1922 orchestra- A tion, Crusaders' non-literal rendering imparts a sense of -= the spirit of each picture. After a brief opening fanfare of \"Promenade,\" the corps begins its excursion through the gallery, pausing to view \"The Hut of Baba Yaga,\" a sinister representation of a = Russian fairy-tale witch who rides through the countryside on a • ~ mortar shell of glowing iron. \"Tuileries\" is a tender scene of children at play, segueing into the fluttery and circus-like \"Ballet of the Unhatched Chicks.\" he plaintive atmosphere of \"The Old Castle\" re-creates a = • T troubadour singing in front of a medieval castle. Percussion captures a dispute between women in \"The • &. • • Market Place at Limoges.\" A short reprise of \"The Hut of Baba Yaga\" • leads into an ending fanfare of \"The Great Gate of Kiev,\" inspired by • ~ • Hartmann's own design for a massive monument. The show ends with • a proclamation of the original \"Promenade\" theme, interwoven with • \"The Great Gate of Kiev,\" as the ringing of bells and chimes ushers in a glorious demonstration of splendor and grandeur. • • corps information: • mailing address: • • 6 Sever Street #2 Boston, MA 02129 .. ~ phone: (617) 723-8741 ■ drum major: Matt Rollinson ■ guard captain· Tara Grossman 1992 repertoire: Music from Mussorgky's • • tures at an Exhibition \" - 1st Picture : • \"Promenade\" and \"The Hut of Baba Yaga, \" ♦ Picture : \"Tuileries\" and \"Ballet of the Unhatched Chicks,\" 3rd Picture: \"Old Castle\" and \"The Marketplace at Limoges,\" 4th Picture: \"Hut Reprise \" into \"Great Gate of • • Kiev\" general manager: Bill Binford program & staff coordinator: Michael J. Woodall financial administrator: Paul Gowern business manager: Joe Ricci brass arranger: Jim Prime, Jr. • brass staff: Tom Lizott (Caption Head), Ray Bedard, Jim Cronin, Ed Doughty, Eric Gagnon, Jim Munz, Jim Wedge percussion arranger/coordinator: Thom Hannum percussion staff: Jim Ancona, Mike Cahill, Steve Cirillo, Jim Gaudet, Michael Jones, Dave McCarthy, Todd Morrison visual designer: Chris Raichle visual staff: Kevin Walsh (Caption Head), Steve Dolley, Chuck 4 Moulton, Dave Owens, Tom Ptak auxiliary coordinator: Ellen Cirillo auxiliary staff: Laurie Deschenes, Theresa Donahue, .. Melissa Moore, Helen Taylor, Theresa Walsh • Anthony Smith executive director • • ♦ 23 l ,. •• DCI Board Member • ...... ♦ •• ·\" - • • ••• • • . - II

• adets of Bergen County has used its long-standing commit- C ment to innovation to win the DCI World Championship five times. Once again, the corps aims high, with visions of wings, blue sky and daredevil fighter pilots. The 50th anniversary of the famed aerial Battle of Britain inspired wind composer David Holsinger to • write \"To Tame the Perilous Skies.\" The Cadets bring this piece • to the field in their own tribute to those who have tamed the skies. he work is as esoteric as one expects from T the corps, with opening surreal musical images setting the spirit of adventurous flight. Yet, the musical energy yanks one right off the •• tarmac and into the cockpit. Rather than fight the G-forces, jump in and pull the throttle back, as the unmistakable airplane drill form prepares for take-off. You'll have to dod~Je the segmented drum line, scattered across the field like flocks of birds. s ounds reminiscent of flight are heard throughout the • musical score. Action and affirmations of stratospheric == • planes caught in the grip of a vicious dogfight. The final segment conveys • grandeur precede a restful calm where one c,in catch one's breath and prepare for the next sortie. A frenzied battle scene portrays - ~ • a sense of returning home victorious, with glorious music and full-field • • drill forms as wide as the sky. The ecstatic melody proclaims the bravery and dedication of the flyers, breaking Mach 1 with a vigoro s fervor as • ~ • the corps touches down to its wildest and most powerful e:nding ever . • ~ • • • = 78 Central Avenue corps information: • mailing address: ~ phone: (201 ) 487-5797 P.O. Box 8 Hackensack, New Jersey 07601 tTrt drum majors: David Roulier, ' - Skies\" -David Holsinger administrative staff: I JoAnna Allen 1992 repertoire: \"To Tame the Perilous ♦ Dave Helms, Doug Rutherford, Greg Pych, • Brian Hickman, Susan Spagnola brass arranger: Michael Klesch brass staff: Frank Williams, Dennis Lorenza, Rich Armstrong, • Andrew Shanefield, John Curry, Lori Mcllveen percussion ,1rranger:Thomas Aungst percussion staff: Willy Higgins, Steve Kieffer, Mike Stevens, Kevin Wietz visual designer: Marc Sylvester visual staff: Joe Roche, Trevor Gingrich, Jerry Corradino, Leon May, Jeff Sacktig, Paul Deliberto, Travis Fripp, John Vanderkoff auxiliary coordinator: April Gilligan auxiliary staff: Jim Woods, Jim Moore, Sam Jenio, John Amos, Kristy Jones, Denise Bonfiglio, Greg Lagola • • George Hopkins • ,, . executive director • f •• • •• DCI Board Member ♦ .. .\"' 24 ' • ·t-t.•., •• ◄ •

n 1991, Carolina Crown had much to be proud of in only I its second year of competition. After advancing from Class A (now Division II) Finals and achieving DCI Member Corps status, fans were forced to sit up and take notice of the latest rising star from the South. ue to the success of last year's Prokofiev show, the staff D wanted to further explore music of a contemporary symphonic composer. They were looking for music that • fans could hum, yet which offered an impressive array of styles and sounds. What they found was \"The Dances of Malcolm Arnold,\" written by one of Great Britain's most diverse and individualistic composers. (What else would you call someone who composed a wind band piece featuring Hoover vacuum sweepers and a floor polisher?) ach of the \"English Dances\" is a miniature tone poem. • E The opening dance is a risky venture, since the volume never reaches a forte level in more than two minutes. Almost a ballad, the mellow, lilting work visually portrays an after- •· noon gathering in an English village. The following dance is effervescently lively, with an emphasis on percussive effects. The first • • • aggressive piece in the show is the bombastic final dance. One of the • prettiest solos on the field is heard during the beautiful third move- • ment chorale from \"Four Scottish Dances.\" The fourth movement • from \"Four Cornish Dances\" depicts a musical interplay between an • advancing marching band and a set of dancers, with each group •• • fighting its way to the foreground until both end up within the front ensemble. • • • . f .• corps in ormatao mailing address: 5018 Park Road #244 ■ •• • Charlotte, NC 28209 phone: (704) 542-0912 • drum major: Jonathan Bright ♦ \"The Dances of Malcolm Arnold:\" ■ English Dances, Op.27 (Set 1) - I Andantino; English Dances, Op. 53 (Set 2) I Con brio; English Dances, Op. 27, (Set 1 ), IV Allegro risoluto; Four Scottish Dances, Op. 59 Ill Allegretto; Four Cornish Dances, Op. • 91 IV Allegro ma non troppo corps director: Greg Dearmen tour direct r: Greg Lowe program director: Cecil Adderley Ill music coordinator: Bill Register brass arranger: Don Flewell brass staff: Don Taylor (Caption Head), Joe Vaughn, Scott Gordon, Marty Mccartt ercus- sion arranger: Bill Register percussion staff: Bill Register • (Caption Head), Gil Doggett, Clint Gillespie, Pat Thornton, Jon Kirk visual designer: David Cudd visual staff: Cecil Adderley Ill (Caption Head), Don Dohm, Carl Whipple auxiliary designer: Vincent Thomas auxiliary staff: Vincent Thomas (Caption Head), Mary McWilliams, Mitzi Davis, Edward S. Kevin Smith • • ... • • 25 ••• -· •• •• •• 1' • McFarland .. executive director DCI Board Member ♦ • • • ......... • -

ur planet is a very:different place than when we met • 0 for the 1991 DCI Champior:,ships. We had barely left Dallas when hard-liners attempted to take con rol of the Soviet Union. The crumbling of their plan opened the door for a remarkable revolution that was felt far beyond the borders of the former USSR. he Cavaliers is staging a \"Revolution\" of its own, T with music full of conflict and a drill brimming with tension screaming to be released. Jack Stamp's new composition, \"Gavorkna Fanfare,\" furiously propels the corps off-the-line, followed by music of British composer Malcolm Arnold. \"Cornish Dances\" features Arnold's use of cinematic cross-cutting, alternating between an advanc- ing marching brass band and a troupe of dancers, each fighting for the • right to be heard over the other. \"English Dances\" resolves the conflict with an animated sense of cheerfulness. he final half of the show is devoted to Arnold's \"Peterloo,\" T written in homage of those who died when British troops attempted to crush a public speech on politic,11 reform. The discordant and chaotic revolt disrupts the peaceful sound of the • tranquil English countryside, with the horror of violence felt in the drill. • • • Cavaliers' staff had selected the piece long before they discovered that • the rebellion was crushed on August 15, 1819, the anniversary of which is the day of DCI World Championships Finals. • • • • • • • • • • corps information: mailing address: P.O. Box 501 Rosemont, Illinois 60018 • • drum major: Robert Wis phone: (312) 247-3440 1992 repertoire: REVOLUTION! \"Gavorkna Fanfare\" - Jack St~mp, \"Cornish Dances\" - Sir Malcolm Arnold, \"English Dances\" - Sir Malcolm Arnold, \"Peterloo Overture\" - Sir ♦ Malcolm Arnold pro ram coordinator: James • Brubaker, Tim Salzman brass staff: Gordon B. Campbell pri ram designers: Steve Henderson, Chris Jenkins, Dave Morrison, Clifton • Taylor, r~ohn Timmins percussion staff: Leif Marwede, Bret Kuhn, Dave Dombeck, Kevin Lepper, Scott Kretzer, Brad • Halls, Brian Mason, John Bixby, Christos Theo visual designers: Steve Brubaker and Greg Poklacki visual st ff: Mitch Rogers, Bob Fayard, Bill Wiggins, Steve Suslik, Scott Seal, Mike Wiggins, Pat Ruddy auxiliary designer: Troy Morgan auxiliary staff: Bruno Zuccala, Chris Marchetti, Mike Gaines, Steve Ryan ♦ • b • director •• , ♦ • .. ' .. Jeff Fiedler ·- DCI Board Member •• .. ' 26 II .... • •• ·t

SABIAN Ltd .. Roy Edmunds. Director of Educational Sales. 652 Highview Road. Pickering. Ontario. Canada.LIV 4W5. Tel: (416) 420-2216. Fax: (416) 420-5053. ;PLAY IT AGAIN, SAM ••• an again and again and again ... with DCI's quality recordings of this summer's dynamic musical performances. The vibrant brass and pulsating percussion will let you remember the colors and excitement that made this summer one of the hottest! Quantities limited, order yours today! DCI Audio Sale Qty. Total Price After DCI Compact Sale Qty. Total Price After Cassettes Price Price 8/21 /92 Discs Price Price 8/21/92 Credit 2-Volume Set $20.00 X __ = __ $24.00 2-Volume Set $36.50 X __ = _ _ $40.00 Card Orders: Top 12 Corps Top 14Corps 4-Volume Set $35.00 x __ = _ _ $40.00 3-Volume Set $45.00 X __ = __ $50.00 1-800-344-2772 Top 24 Corps Handling 1.uQ Top 21 Corps Handling lliQ TOTAL $ __ TOTAL $ __ Name: _________________ _ Address: _________________ _ City/State/Zip: MasterCardNISA #: Exp: Date: ____ Daytime Phone: ~ --~ ______ _ Make check or money order payable in U.S. funds to: Drum Corps International. Mail orders to: DCI Recordings, P.O. Box 548, Lombard, IL 60148. Illinois residents add 6. 75% sales tax. Canadian orders please add $1.00 per volume for shipping. Overseas orders add $1.60 per volume for shipping. Orders received before August 20, 1992 will be shipped on or before Nov. 15, 1992. 27

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s oon, the steamy humidity of summer will be no more, as nature undergoes a costume change. Winter is always lurking just around the corner, with a starkness that dims the recollection of stadium lights and massed corps finales. The face of spring smiles upon the earth, giving us hope and anticipation. • he Colts celebrates its own version of \"The Four Sea- • sons\" with contemporary music accenting the beauty of each period. Seen and heard in David Foster's \"Morning to Morning\" is the boldness of winter, with giant snowflakes and blue and silver in the guard adding to the sparkle. Just like real winter, the season ends more with a peaceful whimper than a bang. Large white sheets turn over to reveal the colors of spring, spreading a sense of new life across the field. • ohn T esh's \"A Thousand Summers\" captures the essence • • J of spring by looking to the upcoming summer rather than dwelling on the past. Tesh's \"Brain Dead Weasel\" brings summer into fruition with fluorescent colors and a hot, festive, high-energy Latin feel. The guard take you on a walk through a park • to view changing autumn leaves in Dave Grusin's \"The Heart is a Lonely Hunter,\" from \"The Deer Hunter.\" Tesh's \"Day One\" celebrates • • • all the seasons with a visual medley of the colors, acclaiming the • rejuvenating spirit of the entire cycle. • • • • • • • • •• • • • corps information. • mailing address: ••• P.O. Box 515 ■ -- Dubuque, IA 52001-0515 ♦ • phone: (319) 582-4872 • ■ drum major: Anne Keller • • 1992 repertoire: The Four Seasons - = \"Morning to Morning\" - David Foster , \"1,000 Summers\" and \"Brain Dead Weasel\" - John Tesh, \"The Heart Is A Lonely Hunter\" - Dave Grusin, \"Day One\" - John Tesh • program coodinator: Jeff Bridges tour director: Floyd Stegall rass arranger: Chuck Naffier brass staff: Greg Dowe, Brett Hall, Jim Johnson, Ted Reicher, Dean Musson percus- sion arranger: Darrell McKee percussion staff: Jerry Carpenter (Caption Head), Chris Ewan, Rodney Harris, Mike McCray, Jason White, Mike • •• Worley visual designers: Jeff Bridges, Ron Coleman visual staff: Steve Delaney, Beth Navara, Steve Huggins auxiliary designer: Brian Tenclinger auxiliary staff: Chad Guess, Denise Rooney, Becky Mackenzie Greg Orwoll director • • • • 29 .... -· •• •• - t\" • ...... DCI Board Member ♦ ) •• ♦ - •

arth is an exceedingly forgiving planet, having withstood centuries of abuse and neglect. However, the conse- quences of our \"throw-away\" life-style and a raipid • depletion of vital resources is becoming clearer as the air and water becomes dirtier. It is with concern for the environment that • Crossmen dedicate \"Songs for Planet Earth.\" The message is • inherent within the music rather than being overt. This is, after all, a pure Crossmen show-entertaining and exciting first and foremost. R with the horns scattered through space as random ichard Stoltzman's \"Begin, Sweet World\" starts particles. As the planet solidifies, it travels along a curved path on its journey through the solar system. \"(The Beauty of) An Appalachian Morning\" by Paul Halley and Paul Winter, demonstrates the splendor of the planet with a joyous acclamation of energetic delight. \"The Four Elements\" is an original work by staff member Matt Krempasky. Different combinations of instruments represent the four elements as taught by the ancient Greeks; earth, water, air and fire. tie field bursts alive with the bright colors of foliage and • T bird plumage in First Circle's Latin jazz piece \"The Rain I • Forest,\" demonstrating concern for the fastest disappearing • • resource on earth. In Paul Winter's \"Under the Sun,\" the earth re- establishes its orbit to a mood of reverent serenity. The music tapers to nothingness as the planet moves along its path, further and further away • from our limited point of perspective until it fades forever into space . • • • • • • • • mailing address: 6424 Roosevelt Ave . • Pennsauken, NJ 08109 • phone: (609)488-7128 drum major: Phil Dippold, Lisa Battaglia \"Songs for Planet Earth\" - \"Begin, ♦ Sweet World\" - Stoltzman, \"(The Beauty of) An • Appalachian Morning\" - Paul Winter, P. Halley, \"The ♦ Four Elements\" - Matt Krempasky, \"The Rain Forest\" - Full Circle/arr. Mark Thurston, \"Journey Under the Sun\" - Paul Winter program coordin:tor: Dennis Delucia corps manager: Paul Cain tour coordinator: Ed Turner • administration: Chris Marino, Tim Graham brass arranger: Matt Krempasky brass staff: Tim \"Shorty\" Bartolomew, Rick Wygant, Scott Sluter, Larry Markiewicz, Ester Messano ♦ percussion arranger: Mark Thurston percussion staff: John Evans, Kirk Gay, Chris Fiest, John Riley, Rich Hammond, Dan O'Neill, Chet Tietsworth visual designer: John Miliauskas visual staff: Jim Coates, Bill Mattus, Tim Rohrbaugh, Rob Starrett, Bernie Marini, Dan Morabito, Brian Prato, Ailison Miller Carl Ruocco auxiliary designer: Todd Marcocci auxiliary staff: Terry Kelly, K,1ren Schulte, Jenny Bernard director ·- - 30 • ... •• • DCI Board Member

... ..,. ith \"Prime Cuts: The Best ofToday/ Dutch Boy has moved W into the 1990s with a show that explores the latest, jazz, pop and film hits. Granted, the first two selections are familiar to people who found themselves too old for \"The Jitterbug\" and \"The Twist\" long before DCI was founded. However, like a classic reconditioned convertible, these works entrance a whole new generation. The other two selections are brand new, but appeal to all ages. f you've never before seen the corps, the opening I fanfare of Natalie Cole's \"Unforgettable\" provides a \"best of\" Dutch Boy history lesson that will bring you up to date in no time flat. Natalie Cole's \"Avalon\" is shaded with the brassy sounds of the 1991 Tonight Show Orchestra release of the same title. The high-spirited blast of jazz is like driving a convertible down the • Pacific Coast Highway, with interesting twists and turns that reveal sun, sea and sand one moment and cliffs and drop-offs the next. he Brazilian beat of Dave Weckl's \"Festival de Ritmo\" T drives the convertible all the way to New Orleans for • Mardi Gras. Drums march right into trap drum sets as the guard contributes to the festive ambiance with vividly colored props. • • A closer of Alan Mencken's score to the smash hit movie \"Beauty and the Beast\" combines elements of three selections to create a tapestry • of richly textured melodic shadings, clearly demonstrating that the hot ·-=· • and sassy corps has a tender alter-ego worthy of exploration . • • • •• • • .~ • mailing address: ~ P.O. Box 842 •• Kitchener, Ontario, Canada N2G 4C5 phone: (519) 744-3291 =· • drum major: Ian Matthews Prime Cuts: The Besr of Today- \"Unforgettable\" - arr. Natalie Cole, \"Avalon\" - arr. Natalie Cole, \"Beauty and the Beast\" - Mencken & Ashman, \"Festival de Ritmo\" - Dave Weeki tour manager: Marco Roeleveld program coordinator: Michael J. Cesario brass • arranger: Al DiCroce brass staff: Benoit Glazer, Brian Hannah, Larry Shane percussion arrangers: Matt Savage, Amy Putnam percussion staff: Lou Mondelli (consultant), Jay Webb, Joel Gagne, Jeff Phipps, Robert Anderson, Paul Buyer visual designer: Marc Sylvester visual staff: John Dileo, Mark Kozma, Ed Otto, David Aydelott, Matthew Jones, Peter Jones auxiliary choreographer: Sandra DiCroce auxiliary staff: Dave Meikle, Michelle Huggins sponsored by: Northstar Youth Organization, Hespler Optimist Club, Lions Club of Kitchener, • Optimist Club of Kitchener-Waterloo, Friends of Dutch Boy, Dutch Boy Food Markets, Twin Cities Optimist Club, Twin City Graphics, Cherry Bus Lines, Lewis & McAllister Travel, Sabian Ltd., Pearl Percussion Instruments, Franbar Holdings, Woodside Industrial, Newtex Cleaners, J.M. Schneider, Inc., NuBar Graphics, Waterloo Regional Police Association, Flying Dutchmen Alumni Association, Northstar- Dutch Boy Booster Club, Cities of Kitchener and Waterloo, Ministry of Culture and Communications Albert J. DiCroce • ♦ 31 ♦ ♦ director ' ~- DCI Board Member ♦ • •• •• ~ • &.-.• ~ • • • • - ■• ti

he few writings on,~ritish composer Sir William Walton deal primarily with his extensive Shakespearean film scores. ot much is written about him, although hisJJJusic has been widely performed and recorded. Many of the limited impres- sions drum corps audiences have of Walton will likely c;tapni3e when they ~~\">;; hear Freelancers perform his \"First Symphony/ written i-n 1934. ontrary to some of his better known works, this composi- C tion sounds as if Walton was influenced by k.merican mt sic in general and jazz in particular. There is an extensive use 0f coloristic choras in this work, which still retains a heavily British identity. The colors in the music are reflected in a rainbow of flags ·n the opening set. As the music evolves, the flags gradual!~ change color through a •• • ~ number of equipment changes until all the flags are one bright shade . delicate dance precedes a fast and jaunty theme the ._,,,,. 1 ~ composer borrowed from his soundtrack of \"Richard Ill.\" This segi ent is the most consonant part of the: show, at least until extreme and disturbing dissonance takes over. A tenfjer ballad based on the earlier dance, andJevolving around a soprano • solo, concluaes just sli3ntly awry~ ot quite as contented as one might • expect. The emotional impression is akin to two people wanting to be in • • love, but not being able to makejt ork. A final processional statement - • resolves the tension an provides a bright, upbeat enc.ii\\ g. • • • • • • • • • • • • corps information: mailing address: 7257 E. Southgate Drive Sacramento, CA 95823 phone: (916) 428-4016 drum majors: Edward Stutz, Adam Payne 1992 repertoire: \"First Symphony\" - Sir I! William Walton exi~\\tive director: Parker , Silva tour coordina,tor: Bob Fields program coordinator: John Zimny brass arranger: John Zimny brass staff: John Zimny, Chris Nalls, Ritchey Hodgl!t Larrie Dastrup, Jack Taylor f' ~\"' percussion arranger: Don Silva percussion staff: • Don Silvat,;g1orman Bartlett, Rodger Jack, Tad Carpenter, Dan Hudson, Rick Nunes visual designers: Paul Zimny, Karl Sarff visual staff: Paul Zimny, Karl Sarff, Mike Grogan, Mike Bellanca, Mike Cherry auxiliary choreographer: Kari Zimny auxiliary staff: Kari Zimny, Benny Medrano, Kevin Works • II • • • • • \"' •

w e all occasionally daydream about our childhood, about happy and carefree days before mortgages and auto payments entered our consciousness. Childhood is an age of constant discovery, of learning something new almost every day. It is this sense of wonderment that Glassmen explore in \"A • Childhood Remembered,\" using music and movement of the New • Age. he show takes its title from an album in the Narada T Collection Series, a collaboration between several New Age artists. David Arkenstone's \"The North Wind\" is from this album, exploring the childhood desire for travel and adventure. Arkenstone never lost his childhood capacity to travel by way of his imagination, writing about seeing the world through his composi- tions. The dramatic work piques our curiosity through shifting levels of volume that highlight an extensive use of emotional impact points. Madre de la Tierra,\" literally meaning \"Mother of the Earth,\" is a passionate ballad from David Lanz' new '' album, \"Return to the Heart.\" Keyboard percussion and •· dancers create an impression of child-like awe while gazing at the stars, interpreting a work that can get as cerebral as you let it. • • \"Escapades of Pan,\" from Lanz's \"Skyline Firedance\" album, returns from last year's show to lead us on a roller coaster journey through • adolescence. With waves of auxiliary equipment and furious motion, • • we experience the ups and downs of confusion, joy, questioning and • fantasies, as children quest for adulthood but are unwilling to let go •• • of their youth . • corps information: • • mailing address: • 4218 Overland Parkway •• Toledo, Ohio 43612 • phone: ( 419) 4 78-4845 • drum majors: ♦ Mary Moody, Joel Berns ■ 1992 repertoire: A Childhood Remembered \"The North Wind\" - David Arkenstone, \"Madre de la Tierra\" - David Lanz, \"Escapades of Pan\" - program coordinator: Tom Acheson brass • David Lanz assistant director: Thom Eaton • arranger: Chris Tomsa brass staff: Dave Tippett, Don Parsons, Stewart Clark, Craig Hedden, David Beck percussion arrangers: George Sheppard, Marc l Jacoby percussion staff: Glen Crosby, Brent Hart, Kari Klier, Tim Murphy visual designer: Tom Acheson visual staff: John Turner, Mike Hardiek, Toni Turner, Tim Kovarik, Brittney Tyler auxiliary designer: Ping • Dawson auxiliary staff: Charlie Gumbert, Julie Snyder •• • Dan Acheson • executive director ♦ • .. 33 l •• DCI Board Member ♦ • ♦ ..... IL.. • • • •• a• • • •• --

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, • 'lnsolite has gone i active for 1992, but plan to be back in • 1993. The corps has paved the way for its return by starting a feeder corps and increasing its fund raisin9 i~ctivities. ver the past few seasons, the corps has developed its own unique style based on its Fr~nch heritage. J:he: corps' jazz programs were always entertaining-visual programs were guaranteed to contain a major startling effect. The rotating checker- board of the past two seasons remains one of the most memorable-' moments yet seen on the field in the '90s. Cl presents the adjoining collage of pictures to help keep · L'lnsolite fresh in the memories of its many faqis. We wish the corps a speedy return to the:field. • • • • ♦ • • • corps information: • mailing address: • • C.P. 332 • St. Jerome, Quebec J7Z ST9 • • • •• • • ~ • •• • • I • ••t • • • II • • • ·, • • • • •• • • • ~ • • • • I • ). • • • 18 tl,lichard Levass~ • director • DCI Board Member • ...,..,..,_ .. (.

hen the staff of the two-time DCI World Champion Madison Scouts thought about bringing back Cy Coleman's \"City of Angels\" for an encore, it wrestled with two important criteria: (1) the show had to be worth bringing back, and (2) the staff needed to be sure it could be done better a second time. After a brief debate, the staff decided to delight the corps' fans by giving them another chance to enjoy one of the most entertaining productions of recent vintage. Prologue and Theme\" drips of blues off-the-line, suddenly bursting into an intense jazz-rock feel. The trademark full horn line wheel has been enhanced, with drums and guard forming a giant, rotating \"X.\" A short statement of \"L.A. Blues\" creates a mood of sitting on the beach in Malibu during the 1940's, watching the surf roll in while gripping an icy daiquiri. \"You Gotta Look Out for Yourself\" swings as it was meant to, covering all the swing bases from fast and breathless to slow and relaxed. lush and melancholy ballad rendition of \"With Every Breath I Take\" soothes the eyes and the ears, weaving a solo voice • with the rest of the brass to create a flowing tapestry of gentle textures. A longer and more involved version of \"Funny\" opens • • with a dramatic fanfare before developing a Latin salsa character, as opposed to the ominous sensation of the original. After a loud \"park 'n' • blow\" chorus, the show wraps up with a frightfully unforgettable and • • uncontrollably fiery conclusion. • • • • •• • • • corps information: • • ., mailing address: . •- P.O. Box 948 Madison, WI 53701 phone: (608) 241-3171 • drum major: Kevin Feeney 1992 repertoire: City of Angels by ■ Cy Coleman - \"Prologue and ' Theme,\" \"L.A. Blues,\" \"You Gotta j. Look Out For Yourself,\" \"With Every Breath I Take,\" \"Funny\" administra- • tive staff: Keith Gee, Mike Burke, Dan Feeney pr gram coordinator: Scott Stewart brass arrang-er: Scott Boerma brass staff: John Quigley, Clay Wachholz, Van Matthews percussiJ n arrangers: Chris Thompson, Jeff Moore percussion staff: Jeff Peterson, Lee Beddis visual designers: Jeff Schultz, Mike Turner visual staff: Mike Loeffelholz, Chris Harmon, Bill Zeier, Dan Feeney, Mike Burke auxiliary designer: Mike Turner auxiliary staff: David Veda, Mike Voves, Chad Duggan • • • •• • Scout Stewart • director • • -- 37 ) •• •• ..... DCI Board Member • ♦ ..-1L■ ... • ••• ~· •• • • •

G350 Soprano G355 French Horn G362 Mellophone G370 Baritone Bore: .468\" (11 .89mm) Bore: .468\" (11.89mm) Bore: .460\" (11 .68mm) Bore: .570\" (14.48mm) Bell : 5\" (127mm) Bell: 11\" (279mm) Bell : 1 0½\" (267mm) Bell : l 0\" (254mm) Length: 19½\" (495mm) Length: 18\" (457mm) Length: 17\" (432mm) Length: 23\" (584mm) Wt.: 2 lb. 10 oz. (1.19kg) Wt.: 4 lb. 5 oz. (1.96kg) Wt.: 3 lb. 10 oz. (1.64kg) Wt.: 7 lb. 6 oz. (3.35kg) Mouthpiece: 3C Mouthpiece: 32 Mouthpiece: 6V Mouthpiece: 6½AL G375 Euphonium G378 Magnum G379 Super Magnum All instruments are sup- Bore: .591\" (15mm) Contrabass Contrabass plied with heavy duty Bell : 1 0\" (273mm) Bore: .670\" (17mm) Bore: .71 0\" (18mm) travel cases and all the Length: 25½\" (648mm) Bell: 17\" (432mm) Bell: 20\" (508mm) accessories you need to Wt.: 8 lb. 1 oz. (3.66kg) Length: 35\" (889mm) Length: 42\" (1067mm) march right onto the Mouthpiece: 6½AL-L Wt.: 16 lb. 4 oz. (7.38kg) Wt.: 2516. 15 oz. (11.77kg) Mouthpiece: 25 Mouthpiece: 24AW field . Hwy. H North P.O. Box 968 Lake Geneva, WI 53147 U.S.A. (414) 248-8314 ~AX (414) 248-7953

here is more than just 50 years separating Disney's \"Fantasia\" from films scored by Danny Elfman. People daydream about \"Fantasia\" with smiles on their faces, but have nightmares about movies that inspired Magic of Orlando's \"Music for a Darkened Theater.\" The corps' 1990-1991 \"Fantasia\" music was written by classically trained symphonic composers, while • this year's music was written by the former lead singer of Oingo- Boingo. he guard acts as movie ushers amidst the spotlights and theater curtains of a Hollywood premiere. Rumbling, sinister sounds from the main title of \"Beetlejuice\" emanate from the pit and horn line like a gradual eruption of popcorn, building into a climax which rattles the bleachers. \"Death,\" ) from \"Edward Scissorhands,\" reflects on the bittersweet moment • • when the title character prepares to receive his hands from his creator, followed by the horror of the creator's fatal heart attack just before they are attached. peculiar and comedic medley based on themes from •· \"Beetlejuice,\" \"Scrooged\" and \"Tales from the Crypt,\" fades to black as it segues into a wildly primitive ethnic • • bed\" who live in the depths of the earth. Also heard during the • ■ drum solo based on \"Nightbreed,\" a film about people \"under the • • hectic chase scene are themes from \"Batman\" and \"Darkman.\" The • emotional, romantic \"Article 99\" provides a mandatory tear-jerker • scene, just before the house lights are brought back up for ending ■ •• • credits to \"Batman.\" • • • • • corps mformat10 • • • • P.O. Box 690426 ■ •• Orlando, FL 32869 ♦ • (407) 294-3635 • ♦ George Rodney, Jr. • Music for a Darkened ~. Theater - Danny Elfman Selections from: • \"Beetlejuice,\" \"Batman,\" \"Edward • Scissorhands,\" \"Darkman,\" \"Nightbreed,\" \"Article 99,\" \"Tales from the Crypt\" • Robert W. Smith Kelley Mulvihill Robert W. Smith Sue Hawkins, Rob Grice, Mark Whitlock, Steve Rice John Campese, Paula Williams Mickey Hartzog, Rich Viano, Lee Hanson, Bill • Oleson, Darrell Wahlberg David •• • Duffy Tim Gauldin, Steve Huggins Karl Lowe Adam Sage, Brian Giddens Will Craig • 39 ) •• director • DCI Board Member • ••• &. • • • • • •• .. - • •

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,, • y ou were minding your own business, tending to the treasure you buried on your private island in the middle of the vast ocean. Suddenly, a band of pirates appeared from over the horizon and threatened to make you walk the plank if you didn't hand over your fortune. And now, the Marauders are ~.· back again, ready to plunder and pillage as they take to the high seas. C. Sea Fanfare\" is a brief, bright and brassy statement from \"Victory at Sea,\" awash in the power of 70 horns that '' provide plenty of wind to catch the 28 giant white sails. \"Overture to Captain Blood,\" the main theme to Eric Korngold's dramatic film score, sets the narrative for the pirate's ventures. \"The Siren's Call\" is an original composition by Brad Pearson, as beautifully -~ compelling as the Sirens in Homer's \"Odyssey\" who bid sailors forth into mortal danger. The Storm,\" based on two motifs from \"Victory at Sea,\" ,: boils over with the aggression of nature out of control. '' The pirates get dragged into the squall and barely avoid • • being drawn under the roiling whitecaps of the cresting surf flags. A joyous party follows to \"Fantasia on a Dead Man's Chest,\" with the • • pirates singing \"Yo, Ho, Ho and a Bottle of Rum\" to express delight in =♦ being alive. \"The Revelation,\" another Pearson original, sets the • pirates on their resumed quest for unknown treasures somewhere • • beyond the distant horizon of the open sea. ■ • ♦= • •• • • • • • • . fo . • C. r rmat1 mailing address: ••• • 1335 11th Avenue • Longview, WA 98632 phone: (206) 425-6960 • • = ·♦ drum major: Lane Anthony • Adventure on the High Seas - Part II \"Sea Fanfare,\" \"Captain Blood,\" \"The Siren's Call,\" \"Fantasia on a Dead Man's Chest,\" \"The Revelation\" business manager: Ron Williams staff • coordinator: Kevin Foster brass arranger & musical director: Brad Pearson brass staff: Brad Pearson, Chet Robson, Roger Breakfield, Darrel Meisenheimer, Mark Howard percussion arrangers: Ralph Hardimon, Scott Reusser ■ percussion staff: Scott Reusser, Mike Martin, Ponce Bautista, John Corley, Julia Hillbrick, Toby • , •• Bathurst visual designer: Kevin Foster visual staff: Wes Fitz, Kary Etherington, Brian Bailie, Doug Studer auxiliary designer: Darcie Grigg auxiliary staff: Darcie Grigg, Lisa Fain Randy Baierl • ) ♦ ♦ director ....... . , ♦ • • • • • 41 • • . . .• DCI Board Member •• •• t,11 -

chaikovsky has long been a favorite composer of Phantom Regiment. His \"March Slav,\" 4th and 6th Symphonies and \"Overture 1812\" are among the most popular works in the ~ ·-=~· repertoires of orchestras world-wide. The corps has lifted a number of \"war themes\" from these works to construct \"War and Peace,\" a musical and visual emotional roller coaster ride through the horror of war and • = the exultation of victory and peace. giant curtain lifts to reveal the stage upon which the corps A = rendition of \"Le Marseillaise\" turns violently into a Napoleonic call to will unleash its torrent of sound and fury. France is plunged into the depths of a nationalistic quagmire, as a reverent war, while visual variations on the French tricolor float through increas- •• ~ ingly angular drill forms. A Gregorian peace chant is heard drifting • through a majestic Russian Orthodox cathedral, complete with stained • = glass window and icons. Flowing rivers are seen in the drill ,as the tranquillity of the cathedral is reflected in the neighboring village, all • I falling silent beneath the gentle embrace of the night. .. rench legions attack the village under the curtain of F • • • opposing armies clash with one another as the guard is dragged up the • ■ darkness, setting fire to everything and slaying many. The II Russian army arrives to the strains of \"1812,\" and the - == • middle of massive blocks of troops crossing through one another . • • • Church bells resound the news that the Russian people have triumphed over their attackers as fireworks bu/ st overhead in joyous celebration. • • • ~ • ♦ .. _ • • • corps information: • mailing address: •• a • Rockford, IL 61103 620 John St. t • phone· (815) 962-6777 . ~ conductor: Aaron Ozminski cof'ld ctor: Mark LeGear asc.istant ·=· Marsellaise,\" \"The 1812 Overture\" - • ~ . 1992 repertoire: War and Peace - \"March Slav\"-Tchaikovsky, \"Le • I Tchaikovsky ... sis ;an direct . John Baumgartner tour d1rec ors Bill Riebock, • • Cesario, James Wren, Marty Hurley, John Eric Shott program e~i .,. Michael J . • Brazale, Randy Brownlee, Greg Cesario, Dr. Dan Richardson l;)rass staff· Dan Farrell, John Madden, Albert Lo, Martin • McDaniel, Robert Nunez, Frank Pasquerella, Bill DeJournett p ,,. c;si<' t · Jeff Prosperie, Kerry Knodle, John Destefano, Brian Dufour, Sam Flores, David Horos, Paul Durapau, Pat Fitzgerald visual ,;taff: Mark Waymire, Chris • • Church, Mark Glasscoe, Brian Hildreth, Bob Smith, Duane Minnick, Joe Lemire, Shannon Adams, Steve Orland • Vera Rudniki auxili«'U)' sta •: Cindi Baumgartner, Roman Montoya, Vicki Montville, Red Christiansen , sear • David St. Angel • ... , .. • .. f -, C • .... • • DGI Board Member •• director • 42

IHE SUMNER MUSIC GANES Thee • • • ·- u U) :I I: ~ .. .I: Experience it again! Make your reservations now for 1993. • -e in the center of all the action!! Call To Order Your Tickets Today! 1-800-344-2772 l • ' I f j ( / j , . ' ; , ·~ ! ; ~ ·~ \" , :1 ' : ., ·~ • • f· ~ \" ' l,l~ J • , , , ) ; •~)~~ ~ .. l .l -~\" .t . \" ,,, .. 1 •: • • \\ • •,'t-p-9~· (- • r . r-, \";efi.., .. 11----------------------7 THE I DCI World A~~~st16& 17 (G~neral admissiongoodforbothdays) I 1993 SUMNER I Championships Dtv1s10n II & II/ (Prel,ms) ...... _ Qty. X $7 ea.=__ I MUSIC I Ticket orders for DCI August 17 (General admission) Qty. x $9 ea. = ___ I I Division II & Ill Finals ........... _ GANES ® I World Championships, August 19 (General admission) I I Jackson, MS., will be ac- cepted starting August Quarterfinals ...................... __ Qty. x $17 ea. = _ _ _ 17. Mail orders must be August 20 (Reserved) ....... . FOR FANTASTIC SAYINGS postmarked 8/17 /92 or Semifinals ........................... _ _ Qty. x $20 ea. = _ _ _ later. ON HOTEL AND AIRFARE Mail completed order form August 21 wwith payment in .5. funds to: Finals .......................... ....... _ Qty. x $25 ea. = _ _ _ DCI Tickets CALL DCI AND SAYE ••• P.O. Box 548 Shipping/Handling= $3.50 Lombard, IL 60148-0548 Total I offers substantial savings on a wide variety of hotels Name: _____ _ _ _ _ _ ___ _ _ _____ _ _ _ _ _ _ _ _ _ regional and championships events. DCI has every- Address: _ ____ _ _ _ ___ ___ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ing you need for your complete drum corps vacation. City: ___ _ ___ _ _ _ _ _ _ _ _ State: _ _ _ Zip: _ _ _ _ _ _ _ ok through us and save time and money. For further MasterCardN ISA #: _ _ _ _ ___ _ _ _ _ _ ____ Exp .Date: _ _ _ _ ormation, call: Signature: ____ _ _ ___ _ _ __ Daytime Phone: ( _ __ ) 1-800-144-2~~2 Order your tickets for 1993 now. MasterCard and VISA accepted. Each mail order must include a personal check or money order for the correct amount, payable to Drum Corps International, or complete and valid VISA or MasterCard information with signature. ALL ORDERS MUST BE PAID IN U.S. FUNDS. A $3.50 handling charge must be included in the payment for each order. There will be a $15 service charge placed on all returned checks.Your cancelled check or ( continental United States and Canada) credit card statement will be confirmation that your order has been received and processed. Ticket confirmations will be sent on orders received prior to May 15. Tickets will be mailed beginning on or about June 15, 1993. Orders or (708) 495-9866 received within two weeks of an event will be held at the will call window on the day of that event. The earlier you order your tickets, the better your seats will be. Dates and locations of events are subject to change.

~ '' Clara Vanguard and his soon-to-be-concluded tenure as It's been the greatest experience of my life.\" So says Gail • Royer, reflecting on the 25th Anniversary of both Santa = director. Royer continues, \"The kids have taught me so much over the = been lucky to have been allowed to grow up with this corps. It's been years. They have sustained me and renewed my faith in humanity. I've an unbelievable 25 years.\" ~ I, ith five DCI World Championships and a truckload of high W = activity. Vanguard wrote the book on musical drill interpretation and caption awards, the only corps to place in the Top 12 every DCI WorldChampionship finals has forever changed the • ~ marched the first radically asymmetrical drill. Vanguard's musical training has influenced every corps in ways both subtle and direct. • n the past, Vanguard has frequently played sel~~ctions from @ tt1 I Jerry Sock's musical. However, this is the corps' first full = , • solo, adding voices until the horns hit a decibel climax that will be • \"Fiddler on the Roof\" show. \"Tradition\" begins with a simple remembered during the corps' Golden Anniversary. \"Sabbath Prayer\" emotionally connects with the solemn Jewish religious significance of the = • original player. Vivacious and spry, \"To Life\" and \"Havah\" captures the joy • I • of living. A percussion feature of \"Tevye's Dream\" leads into the guard's famous \"Bottle Dance\" in \"Wedding Celebration.\" During \"Anatevka,\" the corps simply leaves the field-just as the native residents solemnly abandoned their town in the musical-with no regrets and ,a quarter • • • century of positive memories . , • • • • • corps information: mailing address: 1 7 65 Space Park Drive • phone: (408) 727-5534, Santa Clara, CA 95054 drum majors: Marty LaFontaine, Mike Shum guard captai : Gwen Merkle, Sharon Skare • Harnack & Bock, \"Tradition,\" \"Sabbath \"Fiddler on the Roof\" - Prayer,\" \"To Life,\" \"Hava,\" \"Tevye's Dream,\" \"Wedding Celebration & Bottle Dance,\" \"Anatevka\" brass arran ers: G.R. Royer, Jack • Meehan brass staff: Jack eehan, Jim McFarland, John Meehan percussion arrangers· Scott Johnson, Bob Morrison percussion s afft Scott Johnson, Kevin Murray, Kent Cater, Robert Chavira, Tyrus Allen, Bob Morrison, Scott Sells visual designe • Myron Rosander, Wes Cartwright, Dave Owens 'll'isual staff: Myron Rosander, Rick Valenzuela, Rafael Rodriguez, Kurt Lohmiller FIX coord1na or. Dave Owens auxiliary desi r: Wes Cartwright auxiliary staff: Wes Cartright, Kathy Pearson • • • \")Gail R. Royer director • • ' I •• •• DCI Board Member .. ··-~ 44 • • 4 ~

• • • rigaaoon is a mythical, idyllic Scottisn-town that would cease to exist if anyone left. The, musical \"Brigadoon\" is a Lerner and Loewe creation with parallels to the odyssey of Sky Ryders. The corps packed its bags in the middle of the 1990 season and moved four hundred miles, leaving the town that was home since 1954. It was a surprise to no one that the remainder of the Sc~ason redefined the meaning of the term \"rebuilding year.\" Never losing faith, the corps fought hard and pushed its way back into the Top 12 in 1991. illage ambiance is set by a giant bridge and four pods of V warm-up of \"Once in the Highlands\" and \"Brigadoon\" ' percussion decorated with the coat of arms of a clan. A leads into the overture treatment of \"Down on MacConnachy Square,\" a melody that may force your feet to dance a ji . '(Almost Like Being in Leve\" begins in a lush, romantic manner, but unexf.:)ect- edly turns jazzy with a chorus that shouts and screams to th'e end. gentle ballad of \"Come to Me, Bend to Me\" features a • A dance of love, while \"Entrance of the Clans\" conveys a • festive ambiance with a frolicking tune played across four drill segments, each representing a different clan. A man who is spurned by a woman attempts to leave Brigadoon in \"The • Chase,\" but is frantically pursued by V,illagers who don't want Brigadoon to disintegrate. A reprise of \"Brigadoon\" quotes earlier • • themes in a contemplative manner, leading into an upbeat and reassuring rendering of \"Almost Like Being in Love.\" • • • • • • • • • • • •• • • corps information: • mailing address: ••• 127 S. Parks DeSoto, TX 75115 • •• ■ phone: (214) 223-8839 • • _. drum major: Scott Rankin • • 1992 repertoire: \"Brigadoon\" - Frederick Loewe & Alan Jay Lerner staff coordinator: Bill Watson tour .. • • director: Doug Kincaid pro ram coordinator: Nick Baratta brass arranger: Nick Baratta brass staff: Bill Watson • (Caption head), Alan Sanders, David ♦ • I Brandon, Rick tambrecht percussion staff: Greg Rinehart (Caption head), Lou Boldergini, Brian Mason, Brian Morgan, Brian West, James Dolnik visual designer: Steve • • . .. ' Brubaker visual coordinator: Garrett l:)ecker visual staff: Everitt Britt (Caption head), Mark Brumley, Mike Ellis, Chris Lambrecht auxiliary staff: Patty Ann elly, Susan Liles, Michele Hanlon, Blake Kotenbrink, Vanessa Duran ♦ ,# Paul Pro~toQ •• • • 45 l ,,,. • director ,at DCI Board Member • • • ·-

n 1980, five high school students from Montgomery, Ala. • I went as spectators to the DCI World Championships in nearby Birmingham. What they saw and heard inspired them to start a drum corps in their home town. Southwind was soon char- tered, named after the Amtrak train that ran through tovYn from Chicago to Miami. With borrowed equipment and home-made uniforms, the corps was rolling toward becoming a DCI Member corps. After being derailed in 1983, the corps again left the station in 1989 and became the little train that could, moving up the ranks each year until winning the DCI World Class A (now Division II) Championship in 1991 and placing in DCl's Top 25. • M ichael Kamen's heroic movie score \"Robin Hood: Prince of •• Thieves\" was selected for the corps' 1992 run, partly for its excitement and partly for its challenge. \"Overture and The Prisoner of the Crusades\" sets the mood with masculine bravado and fearless abandon, contrasted by the feminine ballad \"Marian at the Waterfall\" which focuses on the interaction of the guard in period costumes. The Abduction\" builds to a dissonant clash representing the • • battle between Robin Hood and the Sheriff of Nottingham . • I \"The Wedding Scene\" follows by combining the selections ♦ \"Maid Marian\" and \"The Final Battle.\" The delicate sounds of handbells wafting across the field serve as a jubilant prelude to the ce:remonial • • strains of personal triumph, increasing in volume as the corps spreads Ii across the field for a final rousing push of elated ceremonial celebration. • • • • • • mailing address: P.O. Box 2361 • Montgomery, AL 361 02 phone: (205) 272-1234 drum major: Neil Jones • 1 \"Robin Hood - Prince of Thieves\" tour director: Porter tJopson program coordina_tor: Tommy Allen brass arranger: Mart • Avant brass staff: Dave Henry (Caption Head), ♦ Joel Schultz, Dave Enloe, David McDaniel, Kristen Starnes, Jeff Jiles percussion arranger: David Starnes percussion staff: !)avid Starnes (Caption ~ Head), Bo Hardy, Steve Sharbutt, Donnie Hudson • visual designer: Tommy Allen visual staff: Tommy • Allen (Caption Head), Robin Wofford, Greg Gauslin, Patric~J)enny auxiliary designer; Phillip Berryhill auxiliary staff: Phillip Berryhill (Caption Head) • ,'Dave Bryan director • •• • • •• DCI Board Member .. 4b • • ◄

pirit of Atlanta celebrates its 15th Anniversary by reminding people that the South is a very traditional yet • very modern place. In \"Songs of the New South,\" the parallels between the corps' show and the South are notable. The show appears to be a traditional Spirit presentation, full of down- home melodies someone might have sung decades ago while sitting on the porch of an ante-bellum mansion. Yet it is modern in spirit, as each of the songs is performed in an updated version as gleaming • fresh as the newest steel and glass skyscraper in downtown Atlanta . he corps has rediscovered Jim Ott' s classic arrangement T of \"Old Man River\" from the musical \"Showboat.\" After spitting it up a bit, the work has been brought back for another spin down memory lane. Barbra Streisand's rendition of \"Can't Help Lovin' That Man\" from \"Showboat\" uses a horn drill to create stages for guard vignettes, focusing on the traditional image of Southern belles as they anticipate the arrival of their beaus. ,..J. ••••••••• T he guard lets loose with its contemporary alter-ego in Cole Porter's \"Miss Otis Regrets,\" whooping. it up at a Saturday night party. The next morning at church, it turns • to matters more spiritual in John Rutter's adaptation of \"For the • • Beauty of the Earth,\" where the corps pays homage to the tenets of its Southern heritage with \"This our hymn of grateful praise.\" • • • • • • •• • ;. • .... corps information: director· Andy Barton .. ;. ■ ng dress· • . ... 2860 Campbellton Rd., S.W. Atlanta, GA 30311 • p.,ne: ( 404) 944-0066 • rum ors: Natasha Johnson, Dustin Collins 1992 repertoire: Songs of the New South, \"01' .~~ Man River\" - Jerome Kern from \"Showboat,\" \"Can't Help Lovin That Man O' Mine\" - Jerome • Kern from \"Showboat,\" \"Miss Otis Regrets\" - Cole Porter/Bette Midler, \"For The Beauty Of The Earth\" - • F.S. Pierpoint ooard repres~ntetive: Bob Hoehn, Jr. no am c tnato ·· Tom Grant brass ange · Key Poulan brass st ff: Tom Grant, Richard Selby, Gary Hopkins rcussion ar anger Kevin Hammond percu. !>ion staff: Kevin Hammond, David Coheley, Laurie Ruschman, Benja Russel, Clif Smith, Mark •• Truitt, Mike Back 1sual d s er: Vincent Noble visua staff: Dan Dilullo, James Batcheller, Tom Williams, Jeff Thompson, Jeff Jackson, Bobby Fayard auxiliary Freddy Martin designe- Troy Morgan auxiliary staf · Joan Noble, Cynthia Noble, Sharon Martin executive dtrector • • - ■ 47 41 •• ,. •• •• . ... . • l DCI Board Member •• ........

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