Halftime Magazine, Vol. 3 Issue 4, July/August 2009 by Halftime Magazine

July/August 2009

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Celebrating

Years of The Cadets

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ISSN 1939-6171

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OnBoard Transport Carts In step with today’s marching programs. ®

Go from storage to transport to the field – in minutes. During long hours of rehearsal, touring, performing or competing, OnBoard® Transport Carts can take a load off your mind. Designed with flexibility and mobility in mind, these carts work overtime to protect your equipment and staff while on the road. They make transitions from storage to transport to performance seamless — without worry. Our new Timpani Cart, Bass Drum/Gong Cart and Speaker Cart secure equipment into place so you can concentrate on moving onto the field and giving your best performance. Each cart comes with pneumatic wheels allowing carts to roll easily on any surface. The OnBoard Cargo and Uniform Cart are a unique system for storing and transporting your instruments and uniforms. Complement these with OnBoard Keyboard and Percussion Carts — and keep your marching program on a roll.

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Keyboard Cart

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Volume 3, Issue 4 July/August 2009 ISSN 1939-6171 ®

Publisher & Editor-in-Chief Christine Ngeo Katzman christine@halftimemag.com

Advertising Account Executive Erich Steinert erich@halftimemag.com (310) 577-6104 Jana Rade, impact studios

COVER PHOTO Jolesch Photography, www.jolesch.com

Assistant Editors Catina Anderson and Gregory M. Kuzma

Editorial Assistant Elizabeth Geli

Editorial Intern Eddie Carden

Accounting/Admin Assistant Guido Jimenez

Contributing Writers Catina Anderson, Jeff Coffin, Dennis DeLucia, Matt Jones, Gregory M. Kuzma, Sabrina Lochner, Chase Sanborn, Haili Sun, Blair Trygstad

Contributing Photographers Derrick Allen, John Hylkema, Jolesch Photography

Web Developers Mike McCullen and Jeff Grant Integrated Communications

Advisory Board Dr. Arthur C. Bartner, University of Southern California “Spirit of Troy” Trojan Marching Band Tony Fox, University of Southern California “Spirit of Troy” Trojan Marching Band Anthony L. White, Los Angeles Unified School District Charles F. Whitaker, Northwestern University Medill School of Journalism Peter G. Riherd, Entertainment Weekly Steve Goldberg, University of Southern California Marshall School of Business

Chief Technology Officer Joshua Katzman

Logo Designer Timothy Watters, Teruo Artistry Halftime Magazine is published by Muse Media, LLC, P.O. Box 661355, Los Angeles, CA 90066 Phone: 310-594-0050 Fax: 310-390-5351 Website: www.halftimemag.com

n May 18, 2009, I gave birth to my second child, a beautiful girl named Kathryn Elizabeth. With every new beginning, we also experience a vast array of emotions: anxiety, excitement, resolve and joy. And while we hope for the best, sometimes we must also overcome the unexpected. Labor went relatively smoothly. But within an hour or so, my blood pressure began to drop, plummeting dangerously low. I felt extremely lightheaded and feared that I would drift into unconsciousness at any second. After six hours of recovery time (almost the same length as my actual labor), I stabilized and began to truly enjoy my new family. Today, Kathryn’s smiles and my older son’s love for her brighten my day. A similar rollercoaster of emotions and experiences can be felt whenever people—or organizations—go through a major change. And thus, this issue of Halftime Magazine commemorates these new beginnings. This season, Drum Corps International has allowed electronics to be used in competition for the first time. Although high school and college bands have already embraced electronics and other technology (read “Technology On and Off the Field,” page 14), corps directors and fans weren’t quite sure how to perceive this new concept. Would this change result in a radical departure from corps style or something that would expand both the musical opportunities and the fan base of the activity? The article “How Are Drum Corps Using Electronics?” page 24, discusses how some of the top corps have incorporated electronics into their shows as well as their overall feelings about the change.

New Kid on the Block: The Music City Drum and Bugle Corps from Nashville, Tenn., hits the streets—and the field—for the first time. Photo courtesy of Music City Drum and Bugle Corps.

Art Director

In addition, there’s a new drum corps—the Music City Drum and Bugle Corps from Nashville, Tenn. (read “Direct From …,” page 30)—taking the field this season. As any entrepreneur can attest, starting a new business or organization is like giving birth. There are a lot of decisions to make and many unknowns to monitor. Yet in the end, our “children” take on lives of their own. On the other end of the spectrum, The Cadets Drum and Bugle Corps celebrates its 75th anniversary this year. As the corps enters a new era, we look back at its history and celebrate its past (page 18). Thank you for joining us in honoring these new beginnings. Musically Yours, Christine Ngeo Katzman Publisher and Editor-in-Chief

Subscriptions: Halftime Magazine is published six times per year. In the United States, individual subscription price is $14.95 per year, and group subscription price is $9.95 with a minimum of 10 copies. Cover price is $4.95. Printed by Royle Printing Company in Sun Prairie, Wisc. 4

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In a U.S. Army Band you’ll not only grow as a musician, but as a Soldier. You’ll have the opportunity to travel the world and follow your passion, while inspiring audiences near and far.

Halftime Magazine exists to serve you, and we look forward to more of your comments. Send your letters to christine@ halftimemag.com.

Readers’ Letters

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The Get a Life Marching Band (from “Direct From ...” in the May/June 2009 issue) has about 20 seasoned majorettes/baton twirlers on the roster. We field 12 to 14 or more for most events. The crowds love us, as we are really good. We love to twirl, and our main goal is to have fun! Our age range is 40 to 77. We hear a lot of, “You go, girl.” We are a marching band too, and we have a ball everywhere we go. — Patti, Twirler Captain Get a Life Marching Band As a mom of a college-age female percussionist (and student of Julie Davila!), “Women in Percussion” (May/June 2009) gives me valuable insight into my daughter’s world. Thank you, ladies, for your talents and for helping to pave the way for the next generation of females in the percussion world.— Kim Bailey

Photo by Jolesch Photography, www.jolesch.com.

I found your article on the “Women in Percussion” (May/June 2009) very inspiring. I am an 18-year-old female aspiring percussionist. I have marched with the Jersey Surf Drum and Bugle Corps and just graduated from Juilliard Pre-College as a percussion major. I will be continuing my education in percussion next year at Rowan University. Over the years I have been playing, I have faced many sexist challenges, like being told I need to play more like a boy would. I’ve taken these experiences and instead of taking them in a discouraging way, I do my best to learn from them. It was great to read this article and see how other women have succeeded in this primarily male field! I began receiving Halftime Magazine after my participation in the U.S. Army All-American Marching Band this year and have to say it has been such a delight! — Colleen Curren from Fanwood, N.J.

Correction: The “Winning WGI” story in the May/June 2009 issue of Halftime Magazine inadvertently listed Avon High School, Scholastic World Guard Champions, as being in the state of Connecticut. The group is actually from Indiana. Halftime Magazine sends its apologies and sincerely regrets the error.

ON I P M A H C I WORLD

it w d l e i s th e f

h distributed by jupiter band instruments , inc .

quantum marching . com • facebook group -Jupiter quantum brass instruments 6

Features Technology On and Off the Field.............14 The use of technology—as simple as metronomes during rehearsal and as involved as electronic instrumentation—can improve field shows, fix problems and add excitement for audiences and performers. With huge selections of available technology and widely varying philosophies on how to use them, each individual group must examine the options and tailor technology to improve its program. By Haili Sun Few ensembles can boast the achievements of The Cadets Drum and Bugle Corps. In 75 years, it has become a household name in the performing arts. The group has won nine Drum Corps International (DCI) World Championships and 19 National Championships prior to the formation of DCI, performed at the Summer Olympic Games, appeared on a late-night talk show and marched in a presidential inauguration parade. It is considered one of the oldest continually operating and most honored drum and bugle corps in the world. Here, we salute the past and toast the future of The Cadets. By Gregory M. Kuzma

How Are Drum Corps Using Electronics?............................................................24

New rules allow drum corps to use electronic instruments and sound effects during performance, but will these changes drastically affect what we see and hear on the field this summer? Individual corps share their reactions and show plans. By Eddie Carden

Departments Publisher’s Letter........................................................4 Readers’ Letters.............................................................6 Noteworthy........................................................................8 Band Jacket Fashion Trend; Sudler Trophy and Shield Winners; USSBA Indoor 2010; Introducing Forté; Sports Medicine for Band?

Gear Up....................................................................................10

Therapeutic Foot Massager and Ice Therapy; Micro Marching League; The SpringTree from TreeWorks Chimes

Regionals..............................................................................11 Calendar of events organized by region Sectionals...........................................................................12

Getting Ready for the Road; Listen and Learn; Q&A With Paul Rennick; Team-Building Tips

Direct From....................................................................... 30 Music City Drum and Bugle Corps Behind the Baton....................................................... 32 Never Underclassed Fitness to the Max................................................... 34 Possible Dangers of Pain Medication For Fun..................................................................................36 Crossword: We Are the Champions …

Photo by Jolesch Photography, www.jolesch.com.

Holy Name Cadets: Celebrating 75 Years..............................................18

Web Exclusives . How to Stay Healthy on DCI Tour . Top 10 Band Festivals/Trips . And More … Visit http://halftimemag.com/articles/web-exclusives/ index.html Also, check out Halftime Magazine’s Digital Edition, a web-based interactive version of the magazine!

Next Issue • International Bands • Band Day • Coverage of the 2009 DCI World Championships • And More ...

By Eddie Carden and Elizabeth Geli

28th Annual

Southeastern Washington

Up to 28 of the top Northwest high school marching bands competing! S

E R N

G T O N I N

Saturday, October 3, 2009 Neil F. Lampson Stadium Kennewick, WA

Congratulations to the newest Sudler Trophy and Sudler Shield winners awarded by The John Philip Sousa Foundation this May. Western Carolina University’s Pride of the Mountains Marching Band won the Sudler Trophy for 2009, awarded to a collegiate marching band that has demonstrated excellence over many years. Four groups received the 2008 Sudler Shield, described as “an international award recognizing high school, youth and international marching bands of world-class excellence.” • Broken Arrow (Okla.) High School Band • Coppell (Texas) High School Band • Tarpon Springs (Fla.) High School Band • Musica Grato High School Band from Himi, Toyama-Ken, Japan For more information, visit the “Web Exclusives” section of Halftime Magazine at www.halftimemag.com. For more information about The John Philip Sousa Foundation, visit www.sousafoundation.org.—EG

Sudler Trophy and Shield Winners

USSBA Indoor 2010 The U.S. Scholastic Band Association (USSBA) has announced that it will be entering the world of indoor competition in percussion, guard, twirling and dance beginning with the 2010 season. A growing number of requests has led the group to commit to a program; however, USSBA is not trying to compete or conflict with WGI Sport of the Arts. “We’ve had so many requests asking us to do this and provide these services,” says Sean King, USSBA director. “We kind of fill the schedule for the guards and drum lines who can only go to a few of the regionals; we’re catering to the groups who can’t make that trip to Dayton.” USSBA plans to create judging rules and regulations so that groups may still participate in competitions put on by WGI. Some major differences, however, include the elimination of timing penalties and the inclusion of competition for standstill percussion ensembles. Percussionist Dennis DeLucia and guard educator Beverly Brahan have signed on as program coordinators. USSBA is planning a championship event in a prominent venue and a schedule that includes at least one competition each week for the whole season. For updates and information, check www.usbands.org.—EG

U T H S O E

Band Jacket Fashion Trend Marching band jackets aren’t just for performances anymore; now military and band-inspired jackets are making a big impression on the fashion world. One of the first and biggest celebrities to popularize the look was Michael Jackson back in the 1980s; however, few could pull off that many sequins. Nowadays, celebs are showing off more accessible takes on the band jacket. Chris Martin and Coldplay wore matching Sgt. Pepper-inspired jackets to the 2009 Grammy Award show; Chris Brown, Lupe Fiasco and Kanye West have frequently worn this style; My Chemical Romance wears more gothic versions; and female artists such as Rihanna, Gwen Stefani and Lady Gaga have worn sexier, tailored versions. According to several fashion blogs, designers such as Ralph Lauren, Chanel, Balmain, Marc Jacobs, Balenciaga, Phillip Lim, Karen Walker and Jessica Simpson have all designed takes on the band jacket. And affordable consumer versions are available from brands like New York & Company and LRG Clothing Company. To get this look for a better price, try looking for actual used marching band jackets and converting them yourself. Just keep in mind that Halftime Magazine does not advocate stealing from your band’s uniform room!—EG

8 a.m. – Prelims 6 p.m. – Finals

Be a part of the excitement! For more information and/or to register, visit our website at www.cavalcadeofbandswa.com or e-mail us at cavalcade.of.bands@hotmail.com. 8

Secrets of Success

Introducing Forté As a new drum corps is born in Nashville (see “Direct From … Music City Drum and Bugle Corps” on page 30), elsewhere in Tennessee, another corps is departing. The Memphis Sound Drum and Bugle Corps will march under that name for the last time this season as it plans to move to Dallas at the end of the summer. Due to school regulations, Memphis Sound had trouble getting rehearsal space in the city—sometimes practicing two hours away—making other logistics such as airport runs and access to food supplies more difficult as well, according to corps director Chris Green. The corps chose Texas as its new home since about half of the participants currently come from either there or Mississippi. With a new location, come a new name and logo. After a contest and feedback from members, alumni and supporters, the name Forté was chosen. “Everyone wanted to keep something regarding sound,” Green says. “We decided not to tie ourselves down to one location in the name. We’re trying to re-brand, so that people know what to expect when we come on the field.” The corps will also have new uniforms in 2010. “We’ve spent some time identifying the things that were most important: the corps song, initiation and color,” Green says. “We’re re-envisioning everything else.” For the latest news on Forté, check www.fortecorps.org.—EG

Sports Medicine for Band? To discover the secrets of a successful marching band, Clemson University percussion instructor Paul Buyer set out to observe seven of the best bands in the nation, chronicling his findings in the new book “Marching Bands and Drumlines: Secrets of Success from the Best of the Best.” A sports fan who’s been involved in the marching arts for more than 20 years, Buyer found inspiration in Brian Curtis’ book “Every Week a Season: A Journey Inside Big-Time College Football” in which the author goes behind the scenes with several college teams. “I’ve been teaching the drum line here at Clemson for about 10 years, and I’ve always been interested in finding out how other instructors teach their drum lines and how directors teach their bands,” Buyer says. While researching for the book, Buyer spent time with bands at seven universities: Louisiana State University, the University of Alabama, Western Carolina University, Michigan State University, Ohio State University, the University of North Texas and the University of Arizona. “I think the book has the potential to enlighten educators about how they run their programs,” Buyer says.—EC

A new study asserts that being in a top-level marching band can be just as tough on students as participation in a Division I athletic team. Gary Granata of PerformWell presented his findings at the American College of Sports Medicine’s annual conference. Granata surveyed marching band students from Avon (Ind.) High School, the reigning Bands of America Grand Nationals champions, about their physical wellness and injuries as related to band. More than 95 percent of students polled reported sore or stiff muscles after practice, and more than 38 percent said they had suffered injuries on the field. A multitude of students also experienced tiredness, nausea, faintness and heat-related illness. “I’m trying to educate the world of sports medicine that this is a population that’s been underserved,” Granata says. “And I’m trying to educate the marching band and drum corps world to know that they are a sport, so they need to start hiring people in sports medicine for training and conditioning. There’s a lack of info, a lack of research and a lack of resources.” This summer, Granata will continue his research by studying top drum corps as they go on tour.—EG

July/August 2009 9

Therapeutic Foot Massager and Ice Therapy

By Elizabeth Geli

Check out the following cool products before your next practice, show or competition.

fter a long day of marching, kicking off your shoes is a great feeling. But how can performers get rid of foot aches—other than waiting for marching season to be over? The Therapeutic Foot Massager and Tru-Ice Reusable Ice Therapy are two options created by Health Enterprises, a manufacturer of over-the-counter healthcare products. Both have recently received the Seal of Acceptance from the American Podiatric Medical Association. “Musicians in the marching band are athletes, and they should get the same treatment plan as any high school athlete,” says Brendan Leonard, president of Health Enterprises. “From a treatment perspective, there really is no difference from that and someone who just returned from the football field.” Tru-Ice Reusable Ice Therapy is a cold pack with a liner system. It provides relief in one-third of the time needed for a traditional ice pack and without the mess created by actual melting ice. The Therapeutic Foot Massager provides relief from stress and pain with three different options: massage plus heat, massage plus ice and basic massage. No-slip rings provide traction on hard surfaces, and the massage knobs can be used for gentle or deep-tissue massage. To find out where you can get these products locally or to order online, go to www.healthenterprises.com.

The SpringTree from TreeWorks Chimes

Micro Marching League

very marcher has imagined how he or she would design an ideal show. Now there’s a free online game—Micro Marching League (MML)—that allows anyone to take on the role of drill designer without buying expensive software. Users can create their own bands and shows with the easy-to-use editor and judge shows created by others. “When you’re in drum corps or marching band, you’re taking everyone else’s orders and doing what other creative people are telling you to do,” says Joe Lesko, game developer and former member of the Milwaukee-based Pioneer Drum and Bugle Corps. “Maybe you have your own ideas, but there really is no other outlet to be doing that. As far as writing drill and designing shows, this is probably one of the first outlets for that creative impulse.” A free account allows you to create shows of 32 sets with 64 members. For a fee, you can upgrade your account to 108 marchers and 40 sets with more instruments and

uniform designs. You can also save more shows at once and add more variation to the color guard flags. “The coolest part is just seeing what everybody comes up with,” Lesko says. “When I first designed the site, I had no idea people would use it to create such interesting, realistic drill. Some of our members have started writing drill in real life because of the stuff they’ve done on the site.” Lesko launched the site in 2007. Since then, it has grown to tens of thousands of users, more than 50,000 shows designed and a highly involved community. Lesko is working to add more guard equipment, more advanced animations and the ability to upload music. To play MML, visit www.micromarching.com.

ooking for a unique new sound for your pit percussion? The SpringTree from TreeWorks Chimes produces a resonating and brilliant tone, “kind of like a haunting, eerie sound,” says James Bratton in operations. The SpringTree is a ¼-inch wide, 11-foot long aluminum/titanium rod spun into a 5-inch diameter, 19-inch long spiral spring. “The actual vibration of the bar rings a lot louder than a regular chime because the sound wave goes out towards the ends of the spring,” Bratton says. “You can compress it or stretch it out to make different sounds.” The SpringTree set hangs from a Black Walnut wood mount that can be attached to any standard cymbal stand. A triangle beater and finger cymbal are included. TreeWorks Chimes sponsors the top 25 drum corps and top 12 indoor percussion groups. All of them have a SpringTree although the company does not know how many are actually using it in their shows. The Nashville-based company, founded in 1996 by percussionist Mitch McMichen, also produces classic chimes, triangles, finger cymbals and cases. For more information, visit www.treeworkschimes.com.

Major Events by Region West Drum Corps International July 2—Bakersfield, CA July 2—Eugene, OR—Drums of Fire July 3—Santa Barbara, CA—Brass Along the Beach at UCSB July 3—Hillsboro, OR—Portland Summer Music Games July 4—Pasadena, CA—DCI at Americafest 2009 July 5—San Diego, CA—Corps at the Crest-Vista July 6—Tri Cities, WA—Drums Along the Columbia: A DCI Northwest Classic July 8—Ogden, UT—Corps Encore July 10—Windsor, CO—Drums Along the Rockies Windsor Edition July 11—Denver, CO—Drums Along the Rockies July 11—Long Beach, CA—So Cal Classic July 12—Los Angeles, CA—Drums Along the Pacific July 18—San Jose, CA—California State Open July 19—Dublin, CA—Loudest Show on Earth

Miscellaneous July 13-18—Tucson, AZ—National Baton Twirling Association Championships

South Drum Corps International July 7—Chesapeake, VA—Tidewater Summer Music Games July 7—Kingsport, TN—The Royal Showdown July 9—Columbia, SC—FirstBEAT July 10—Valdosta, GA—Sounds of the South July 11—Orlando, FL—DCI Orlando July 13—Ft. Walton Beach, FL—Emerald Coast Classic July 14—Broken Arrow, OK—Drums of Summer July 14—Ocean Springs, MS—Mississippi Sound Spectacular July 15—Edmond, OK—DCI Central Oklahoma July 16-17—Houston, TX—DCI Houston Presented by THE exSIGHTment of SOUND July 16-17—Dallas, TX—DCI Dallas Presented by North Texas Festival of Drums and Bugles July 18—San Antonio, TX—DCI Southwestern Championship July 19—Denton, TX—Red River Thunder July 20—Lafayette, LA—Drums Across Cajun Field July 21—Van Buren, AR—Battle on the Border VI July 21—Monroe, LA—Battle on the Bayou July 22—Hattiesburg, MS—DCI Southern Mississippi July 23-24—Murfreesboro, TN—Pearl Presents The Masters of the Summer Music Games July 24—Gadsden, AL—DCI Gadsden Presented by Alabama Battle of the Brass July 25—Atlanta, GA—DCI Atlanta Southeastern Championship Presented by Lake Oconee & Greene County, GA July 26—Charlotte, NC—NightBEAT July 27—Charleston, WV—Drums Across the Tri-State July 27—Salem, VA—The Summer Music Games of Southwest Virginia July 27—Sevierville, TN—Drums Across America July 28—Richmond, KY—Drums Across the Bluegrass July 29—Fairfax, VA—Drum Corps in Fairfax

Bands of America Sep. 26—Louisville, KY—Papa John’s Cardinal Stadium

U.S. Scholastic Band Association Sep. 12—Westminster, MD—Clinic/Preview Sep. 19—Annapolis, MD—Marine Corps Invitational—U.S. Naval Academy Sep. 19—Vinton, VA—William Byrd HS Sep. 26—Herndon, VA—Northern VA Regional Sep. 26—Red Oak, TX—North TX Preview—Red Oak HS Sep. 26—Pflugerville, TX—Central TX Preview— Hendrickson HS Sep. 26—Schertz, TX—San Antonio Preview—SCUCISD Stadium Sep. 26—Sykesville, MD—Century HS

Tradeshows July 17-19—Nashville, TN—Summer NAMM July 26-29—San Antonio, TX—Texas Bandmasters Association Convention/Clinic

Midwest Drum Corps International July 1—South Milwaukee, WI—Spectacle of Music July 2—Vicksburg, MI—Legends Drum Corps Preview July 3—Cedarburg, WI—Rotary Music Festival July 5—Michigan City, IN—Pageant of Drums July 6—Fairfield, OH—Summer Music Games in Cincinnati July 13—Hutchinson, KS—Drums Across Kansas Presents Starlite Drum-O-Rama July 25—Omaha, NE July 27—South Lyon, MI—Motor City Music Tune-Up July 27—Eau Claire, WI—Drums on the Chippewa July 29—Belding, MI—Silk City Rhythms July 29—Centerville, OH—Soaring Sounds 30 July 30—Columbus, OH—Artistry in Motion July 30—Greendale, WI—Music on the March July 31—Dubuque, IA—Music on the March 2 July 31—Paw Paw, MI—Drum Corps in the Village Aug. 2—Dayton, OH—Dayton Summer Classic Aug. 3—Massillon, OH—Pro Football Hall of Fame Enshrinement Festival Drum Corps Competition Aug. 3—Toledo, OH—Summer Showcase Aug. 4—Michigan City, IN—DCI World Championships Open Class Quarterfinals Aug. 5—Indianapolis, IN—DCI Individual & Ensemble Competition Aug. 6— Indianapolis, IN—DCI World Championships World Class Quarterfinals Aug. 7— Indianapolis, IN—DCI World Championships Semifinals Aug. 8— Indianapolis, IN—DCI World Championships Finals

Miscellaneous Aug. 7—Indianapolis, IN—Indiana State Fair triptocollege.org Band Day Sep. 19—Waseca, MN—Waseca Marching Classic Sep. 26—Luverne, MN—Tri-State Band Festival

Northeast Drum Corps International July 1—Ft. Edward/Glens Falls, NY—Adirondack Drums July 2—Beverly, MA—The Beanpot Invitational July 3—Bristol, RI—Summer Music Preview July 6—Jackson, NJ—Music in Motion-Central Jersey July 11—Groton, CT—Drum Corps on the Thames July 12—Manchester, NH—Fiesta De Musica July 30—West Chester, PA July 31—Lawrence, MA—East Coast Classic July 31-Aug. 1—Allentown, PA—DCI Eastern Classic Aug. 2—Clifton, NJ—Music in Motion-New Jersey Aug. 2—Buffalo, NY—Drums Along the Waterfront

U.S. Scholastic Band Association Sep. 12—Lansdale, PA—North Penn HS Sep. 12—Flemington, NJ—Hunterdon Central HS Sep. 12—Manchester, NJ—Manchester Township HS Sep. 12—Scotch Plains, NJ—Fanwood HS Sep. 12—Whitehall, PA—Whitehall HS Sep. 12—Rockville, CT—Rockville HS Sep. 19—Camp Hill, PA—Clinic/Preview—Red Land HS Sep. 19—Collingswood, NJ—Collingswood HS Sep. 19—Pennsville, NJ—Pennsville Memorial HS Sep. 19—Deptford, NJ—West Deptford HS Sep. 19—Philipsburg, NJ—Philipsburg HS Sep. 19—Northampton, PA—Northampton HS Sep. 19—Putnam, CT—Putnam HS Sep. 20—Pine Hill, NJ—Overbrook HS Sep. 26—Lancaster, PA—Central PA Regional—Lancaster Catholic HS Sep. 26—Burlington, NJ—Burlington City HS Sep. 26—Pequannock, NJ—Pequannock Township HS Sep. 26—Piscataway, NJ—Piscataway HS Sep. 26—Toms River, NJ—Toms River East HS Sep. 26—Tabernacle, NJ—Seneca HS Sep. 26—Linwood, NJ—Mainland Regional HS Sep. 26—Seabrook, NJ—Cumberland Regional HS Sep. 26—Norristown, PA—Methacton HS Sep. 26—Collegeville, PA—Perkiomen Valley HS Sep. 26—Rocky Hill, CT—Rocky Hill HS Sep. 26—Blackstone, MA—Blackstone-Millville HS

To list your event, email regionals@halftimemag.com. July/August 2009 11

Getting Ready for the Road By Jeff Coffin

Tour is coming up, and you’re not ready! What can you do? Being on the road as much as I am, I have found a number of ways to get things together musically and personally. For the latest tour with Dave Matthews Band, I had to memorize about 85 tunes for the first gig. That’s a lot of music. I cleared my schedule for most of the month of March to give myself enough time to work on the music and to get the rest of my gear together. Your Music. I put together playlists on my iPod and started playing along. I figure I spent about three to four hours a day for a solid month just on the music for tour. I want to be as prepared as I can be, and I set a very high standard for myself. While I work on the songs, I also think about the fundamentals and how tone/dynamics, harmony, articulation, rhythm and, above all else, listening can help in this process. Listening is the key because without listening, nothing gets better. Your Gear. Another part of getting ready to go on the road is figuring out what to bring. How much gear do I need, which instruments, which electronics, which pedals, how many cords, how many boxes of reeds, which emergency repair tools, how much extra cash, shoes and gig clothes, extra glasses, batteries, passport, books, DVDs, house stuff, etc? I have compiled comprehensive checklists to avoid forgetting something important. I have separate lists for clinics, single gigs, tours, overseas, etc., and I add or subtract to the list as things change. Your Instrument. I also recommend making sure your instrument is in good working condition. It’s worth the time and money. If you have room to bring a backup instrument, I recommend that as well. You should always have a backup mouthpiece. My hope is by putting thought and effort into having things together before I leave, I give myself a much greater opportunity to concentrate on what I am supposed to be doing on the road … making music.

About the Author Jeff Coffin is the three-time Grammy-Award winning saxophonist of Dave Mathews Band and Bela Fleck & the Flecktones. In addition, Jeff leads his own group, The Mu’tet, which takes its name from the word “mutation,” giving way to Jeff’s belief that music is constantly changing and mutating. As a highly in-demand clinician, Jeff has presented worldwide in places from Farmington, Maine, to Perth, Australia. He is also an internationally acclaimed Yamaha and Vandoren Performing Artist. To hear Jeff’s original music, visit www.jeffcoffin.com or iTunes.

brass

winds

Leading instructors provide practical tips for each section of the band.

Listen and Learn By Chase Sanborn One of the first questions I ask a new trumpet student is: “Who do you listen to?” I’m amazed by how short the list is in some cases.

A Mental Library.

I could probably quickly identify 100 different trumpet players just by hearing them play. When considering a piece of music, I can easily imagine how it might be played by Phil Smith or Clifford Brown or Maynard Ferguson or Raphael Mendez or Sergei Nakariakov or Wynton Marsalis or Lee Morgan or Wayne Bergeron or Marvin Stamm or Doc Severinsen. This is a powerful mental library of sounds and styles to draw upon in performance. In the past, my students might have had a better excuse for not being familiar with great trumpet players. Without a parent or teacher to share a library of recordings, they might not have had the opportunity to hear them. Certainly they aren’t hearing many trumpet players in pop music. A Player a Day. I try to play a recording during each lesson to expose my students to some of the players that have been instrumental (so to speak) in my musical development. Today, there is no excuse for not being familiar with the great players of your instrument. Recordings are easily available, and we have all been given a great gift when it comes to expanding our musical horizons: YouTube. One of the greatest time-wasters ever created, YouTube is also an incredible musical library. Thousands of clips are available with the click of a mouse. With time and interest, one could spend 24 hours a day surfing. That can be a problem. If you hope to play music, rather than just listen to it, at some point you’ll have to shut down the computer and pick up your instrument. You are not going to learn by osmosis although some of my students wish it were so. But listening is an important part of the process of becoming a musician, and in this day and age, it is so easy to check out a new player each day. Watch a clip or two before you start to practice. Listen and learn, then try to put into practice what you have heard.

About the Author Chase Sanborn is a trumpet player and a member of the jazz faculty at the University of Toronto. He is the author of “Brass Tactics,” “Jazz Tactics,” “Tuning Tactics” and “Music Business Tactics.” Chase plays Yamaha trumpets and CS Signature Model mouthpieces from GR Technologies. For more information about Chase, visit www.chasesanborn.com.

By Dennis DeLucia

Paul Rennick received his Bachelor’s in Music Education from Indiana University of Pennsylvania and his Master’s in Performance from the University of North Texas (UNT) in Denton. He played snare in the 27th Lancers in 1985-86, has taught The Blue Devils, Carolina Crown and Phantom Regiment, and was instrumental in UNT winning its unparalleled 14th title in the collegiate division of the Percussive Arts Society Marching Percussion Festival. DeLucia: When did you start to play drums? Rennick: I subbed on drum set in my junior high school jazz band, liked it and have played ever since. DeLucia: Major influences? Rennick: I didn’t go to college right after high school but rather played gigs three to four nights a week. I learned the fundamentals of everything I know from that period. I developed a love of jazz, idolized Joe Morello with the Dave Brubeck Quartet and Jon Bonham with Led Zeppelin. DeLucia: What attracted you to marching percussion? Rennick: I heard someone play a Scottish snare drum and was totally captivated. Then I heard a corps warming up in the park in Allentown and was amazed! DeLucia: Rewarding experiences? Rennick: Teaching groups on both ends of the talent/experience spectrum, from beginners who believe that anything is possible to older, more mature players at UNT and Phantom Regiment. The reward is seeing the light bulb go on in the students’ eyes! DeLucia: How much marching percussion is too much? Rennick: If students spend time studying the fundamentals, they can apply them to whatever style they choose. Marching percussion should be one of many things they do. DeLucia: Any hip tips for students? Rennick: Follow your ears, and don’t stop until it’s really the way you think it should be. DeLucia: What is the future of corps? Rennick: I think there are real issues regarding finances. Well-funded high school groups and indoor drum lines might be more realistic as Drum Corps International corps become more expensive to join.

About the Author Dennis DeLucia is a percussion teacher, arranger, clinician and judge. A former member of the West Point Band, he is best known for his successes with championship corps and bands. He has been inducted into three of the major Halls of Fame: Drum Corps International, WGI Sport of the Arts and the World Drum Corps Hall of Fame.

guard

percussion

Q&A With Paul Rennick

TeamBuilding Tips By Catina Anderson

Some of the best parts of color guard are the friendships you develop from being part of a team. But building a cohesive team takes effort from every individual. Here are ways that you can contribute! Befriend. New members are especially anxious. Welcome them, ask them to sit with you during breaks and offer encouragement and support. Talk to Everyone. It’s easy to slip into the comfort of a small clique. Make a special effort to talk to everyone. Keep Positive. Complaining can quickly snowball and bring the whole team down. If you need to vent, do so to your parents or a journal, but keep things positive with your teammates. Know Your Stuff. If you’re slacking with routines, your teammates will be frustrated. Make this a first priority! Attend Guard Parties. They’re a great opportunity to get to know your teammates outside of rehearsal. Follow Chain of Command. Sometimes issues or conflicts arise that need attention. Avoid rumors. Bring your concerns privately and respectfully to your coaches. You’ll avoid creating “drama,” and they’ll appreciate your mature approach. Plan Surprises. What can you do to brighten everyone’s day? Maybe cookies and milk after rehearsal? Perhaps a fun sign for the guard closet? Unexpected surprises make things more fun. Take a Deep Breath. If you’re struggling with a new section of the routine, take a deep breath and know that all of your teammates have been there before. Give yourself time or ask for help, but avoid showing your frustrations because stress spreads. Establish Traditions. Fun traditions from wearing mismatched socks at rehearsal to special good luck gestures on competition day can help bring everyone closer. Lend a Hand. See someone struggling? Offer to help. Not only will your teammate improve, but you’ll also have time to get to know him or her better too. It’s a win-win. By participating in team building, you’ll create a family of performers who will help one another through difficult times and create amazing memories you’ll treasure for a lifetime!

About the Author Catina Anderson has been involved in the color guard activity, first as a performer and then instructor, for the past 20 years. She is a consultant at Broad Run High School in Ashburn, Va. She is also the founder/editor of www.colorguardeducators.com, a website for color guard coaches. She earned a bachelor’s degree at Towson University and a master’s degree in education from Marymount University.

July/August 2009 13

Photo courtesy of the Western Carolina University Marching Band.

hen the Western Carolina University (WCU) “Pride of the Mountains” Marching Band—this year’s winner of the esteemed Sudler Trophy—takes the field, the winds and percussion have some powerful backup. A full-fledged mobile rock and roll band, the “Soul Train,” towers above the field and delivers its huge sound and distinctive style to the screaming home crowd. Marching band technology has come a long way since the roots of the activity, and nowadays, groups use a whole slew of electronics, software and other technological tools to improve their bands and explore new territory in show design and performance.

The Basics: Metronomes, Tuners, Speakers Metronomes and tuners are a staple of marching music ensembles everywhere, and for good reason. These rehearsal tools help bands practice efficiently and effectively and prevent bad habits. The Southridge High School Marching Band from Beaverton, Ore., uses the Dr. Beat DB-90 metronome. “Every rehearsal, we warm up with it,” says director Todd Zimbelman. “On the field, we plug it into an Anchor MegaVox, hold it behind the drum line and travel with it.” In addition to just using the simple click of a metronome, Southridge adds

more technology to bring their rehearsals to the next level. The band programs its show music in MIDI file format and amplifies the tune through speakers while learning drill. “It’s amazing how quickly you can put drill and music together,” Zimbelman says. “It’s a huge advantage and speeds up learning.” Tuners, and the process of tuning up, are familiar to concert bands and wind ensembles everywhere. The Tarpon Springs (Fla.) High School Marching Band, a recipient of the 2008 Sudler Shield, tries to take the same approach that it uses in the concert hall to the field, with a couple concessions for the unique outdoor venue.

By Haili Sun

Photo courtesy of Southridge High School Marching Band.

Photo by Jolesch Photography, www.jolesch.com.

“We have our principal clarinet player tune with the tuner and then sound the pitch,” says director Kevin Ford. “We bring the winds in and match his pitch as an ensemble. During the warm-up process, we pull out our principal players and get a read on where the average pitch center is for the temperature that day. We generally take the average of their pitch center and use that when we tune the ensemble. We do adjust the pitch center outside to accommodate the climate conditions.”

Electrifying Nowadays, seldom does a competitive band take the field without microphones, amplifiers and speakers. Some bands don’t just stop there though. They borrow musical instruments and

concepts from another musical style and setting. Integrating various genres on the field adds a fresh twist to the marching activity, getting the crowd and the performers pumped up. WCU takes this concept to the extreme. “We actually have two additional ensembles on top of the normal marching band,” explains Matt Henley, assistant director of athletic bands and percussion instructor. “One is a more traditional pit down front, but all of that is wired up and has its own sound system. We actually have soloists that come down front; we even had a DJ come down and do some scratching. Then we have another section that’s entirely separate, the rhythm section, and it’s on a set of scaffolding, and it definitely has our largest sound system. We call it the Soul Train.”

The use of technology— as simple as metronomes during rehearsal and as involved as electronic instrumentation—can improve field shows, fix problems and add excitement for audiences and performers. With huge selections of available technology and widely varying philosophies on how to use them, each individual group must examine the options and tailor technology to improve its program. July/August 2009 15

There are a lot of different things you can pull off with it.” While most bands might not have the resources or inclination to go down the same path as WCU, amplifying soloists and pit instruments and using synthesizers to shore up weak sections are common practices that any band can do. At Tarpon Springs, every marimba and vibraphone in the pit has two micro-

phones set up above it, one for the high end and one for the low end. These are connected to a mixer and then to two large speakers. “For our front ensemble students, it allows them to play with better control and technique,” Ford says. “The amplification of mallet instruments prevents our percussionists from having to abuse the instruments for volume.”

Photo by Jolesch Photography, www.jolesch.com.

The Soul Train consists of electronic instruments, such as guitars, keyboards and drum sets, allowing the band to play rock, funk and other non-traditional marching music. “It’s the glue for a lot of our show; they’re playing a lot of our rhythm section,” says Jon Henson, assistant director of athletic bands and Soul Train instructor. “Everything you’d find at a live rock and roll concert, we have out there.” To the WCU band, the Soul Train is much more than a fancy toy or an attention-catcher. “It allows us to play genres of music you couldn’t normally do with a marching band and do things that a normal college band wouldn’t even try,” Henley says. “We are able, therefore, to bring students into the band that wouldn’t normally have that opportunity.” According to director Bob Buckner, the Soul Train allows the band to explore many unique styles. “I love it; I love doing it,” he says. “I’m over 40 years in the business. I’ve taught marching bands and drum corps, and this is really the most exciting thing I’ve been a part of.

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On the Computer For drill writers, the age of graph paper and hand-written drill charts is over. Drill writing software, such as Pyware, has taken its place, offering advantages to both the writers and the performers. Showing the drill being executed is one of the big advantages, especially for visual technicians and others who teach the drill to the performers. In addition, students can download and print out personalized drill charts and coordinate sheets. Music writing and rehearsing software also assists directors, instructors and students. “I write all our own music using Sibelius 5,” Zimbelman says. “It’s very easy and intuitive; you can almost figure it out without the manual.” One of the features offered by Sibelius 5 and the new Sibelius 6 is dynamic parts. “If you change a note in the full score, it automatically changes that note in that instrument’s part and vice versa,” Zimbelman explains. “It used to take hours to format and fix all the parts; now it does all that for you.” Other software helps students with individual practice, giving them immediate and accurate feedback. The WCU band is analyzing the benefits of SmartMusic. “Students can play along with it, and it will tell them when they’re playing it wrong,” Henson says. “It’s a great tool for students.” Finally, some bands use office assistant software to keep track of logistics and operations. The WCU band uses a program called Charms Office Assistant, which allows teachers to organize student contact information, manage inventory, assign uniforms, track attendance, and coordinate trips, fees, fundraisers, form collection and more. The program saves directors a lot of time in an already-hectic marching band schedule. “When you’re looking at six hours a week of rehearsals, you don’t want to spend a half hour on announcements,” Buckner says. As with all software, usability and a good feature set are key considerations. Ford says that his main criteria for

selecting software are user-friendliness and whether the features will benefit his students in the learning process.

The Role of Technology With more marching bands using software and incorporating electronics, most directors agree that technology is here to stay. Where they might differ is why and how they should incorporate this technology into their programs. One concern is not losing touch with the roots of marching music. “You still want to sound like a band,” says Buckner. “There are several places in the show when we have just the winds play ‘dry,’ with no other sounds … and it’s amazing.” Some ensembles embrace electronics because of the wealth of options it provides. “The electronics have allowed us as designers to expand our sound palette and use various colors of sound throughout the program that would not be possible with battery percussion” Ford says. “We explore at least 200 different colors and sound combinations in an 11-minute musical production.” Other groups try to use electronics just to support and complement the band, with a few splashes of color for effect. “We try to keep a natural sound with our amplification,” Zimbelman says. “We want it to be more felt than heard. For other electronics, we did some sampling this year. It gives us new options for cool effects, and the audience enjoys it. We try to use it creatively and artistically.” Whatever the reason for using electronics, foresight and planning are key. “We took a long-term approach to attain all our electronics,” Ford says. “We implemented a five-year plan to purchase the electronics we thought would be necessary for our musical productions.” “Today we are teaching digital kids,” Ford adds. “Electronics are infused in every aspect of their lives. We see it as our responsibility to educate our students by providing quality examples of how the use of technology can complement and enhance musical compositions and performances.”

About the Author Haili Sun is a sophmore majoring in aerospace engineering at the University of Southern California. He has been playing the oboe since seventh grade, served as a drum major for the Oregon Crusaders Drum and Bugle Corps in the 2007 season and marched four years of snare drum for his high school marching band and winter percussion ensembles. He is currently a member of the drum line in the USC Trojan Marching Band.

Meet the Manufacturers Centrum Sound Systems www.centrumsound.com Manufacturers the popular MegaVox portable speaker as well as a variety of other portable sound systems and microphones. Korg www.korg.com Produces a long-established series of synthesizers, a wide assortment of tuners and metronomes for all situations and the widely-used TM40 combination metronome/tuner. Mackie www.mackie.com Offers a respected line of powered all-in-one mixer/amplifiers along with a selection of active and passive speaker systems. Peterson Strobe Tuners www.petersontuners.com Offers professional tuning equipment, hardware and software for all types of players, skill levels and performance needs from stage to studio. OnBoard Research Corp. www.tuners.com Manufactures the CenterPitch Universal tuner for use with trumpet, trombone, saxophone, clarinet and string instruments as well as the Beatnik Rhythmic Analyzer, a percussive practice pad with built-in metronome and analyzers. Roland www.rolandus.com Produces the well-known Dr. Beat line of metronomes as well as microphones, mixers and a wide selection of electronic instruments including keyboards and drum sets. Shure www.shure.com Specializes in producing microphones and microphone-related accessories such as monitors and wireless setups for a wide variety of settings and purposes. Yamaha www.yamaha.com Offers a full line of electronic instruments and audio equipment from speakers and mixers to synths, tuners and accessories for all its products.

July/August 2009 17

Photos courtesy of The Cadets

By Gregory M. Kuzma 18

Proud History: The Cadets (pictured in the 1950s and today) is known for making the unconventional conventional.

Few ensembles can boast the achievements of The Cadets Drum and Bugle Corps. In 75 years, it has become a household name in the performing arts. The group has won nine Drum Corps International (DCI) World Championships and 19 National Championships prior to the formation of DCI, performed at the Summer Olympic Games, appeared on a late-night talk show and marched in a presidential inauguration parade. It is considered one of the oldest continually operating and most honored drum and bugle corps in the world. Here, we salute the past and toast the future of The Cadets.

hat’s in a name? The Cadets— formerly known as Holy Name Fife and Drum Corps, the Garfield Cadets and Cadets of Bergen County— has endured many forms of adversity during the course of its history. More than just name changes, these hurdles include the financial and logistical obstacles that have eliminated thousands of other drum corps. But The Cadets Drum and Bugle Corps is more than just a survivor; it has maintained its role as a perennial powerhouse in the marching arts by being a top-ranked group in DCI Finals since the early 1980s. If you ask George Hopkins, executive director, The Cadets’ success is reflected by more than just points on a scoreboard. It is about positively affecting the lives of thousands of youth who have come through the program.

Diamond Anniversary The Cadets, founded in 1934 and currently based in Allentown, Pa., as a program of Youth Education in the Arts, is the second oldest continually operating drum corps (behind the Racine Scouts) and one of the most revered marching music ensembles in the world. Originally named the Holy Name Fife and Drum Corps, The Cadets won nine DCI World Championships and 19 National Championships. The Cadets placed in DCI Finals for 28 consecutive years, never below sixth place since 1982. Known for making the unconventional conventional, The Cadets organization has been considered controversial by some fans for its use of amplification, voice, narration, costuming and props. Such innovation is part of The Cadets’ legacy as the corps was among the first to bring symphonic music to the football

2009 Show: “Lenny” chronicles the life and work of famed American composer Leonard Bernstein. The Cadets used Bernstein music— including “West Side Story,” “Candide” and “Mass” in four of its championship shows and a total of nine shows in the DCI circuit overall. Traditions: The Cadets’ West Point style uniform design has changed very little since 1939. According to executive director George Hopkins, there are no plans to change the uniform. Trivia: The corps is the first to win three consecutive DCI World Championships (1983, 1984 and 1985 as the Garfield Cadets). Origin of the Corps Song: “O Holy Name,” created between 1936 to 1939 by several Cadets members, is sung to the music of “O’ Tannenbaum.” The Cadets in a Word: “Excellence—It’s what we teach our members, day in and day out. Victory is a by-product, not the goal; the goal is to be the very best we can be.” –George Hopkins, executive director Did You Know? For the 75th anniversary, The Cadets will be recognized as the Holy Name Cadets one last time.

July/August 2009 19

field, to use a contra bass bugle and to use a symphonic keyboard and timpani. It is also a leader in integrating percussion and guard into the visual design process. Thanks to highly skilled instructional staff and designers throughout the years, the group was also among the first to move at fast tempos, to perform whiplash drill and to bring “story” shows to the field. While the corps has often performed music from Leonard Bernstein as it will this year, it has also experimented with a variety of musical genres. With themes ranging from flight to the Knights of the Round Table to Alice in Wonderland in the Twilight Zone, the group has been at the forefront of the new and innovative.

Overcoming the Darkest Hour But The Cadets’ fame and glory haven’t always come easy. Hopkins, who has made the performing arts his mission in life, has led The Cadets for 26 years—since 1982. After aging out with the Crossmen in 1978, Hopkins began his time with The Cadets as a percussion instructor in 1979. By the winter of 1980, he became the assistant director and staff coordinator. Since then, he has been one of the leading architects of modern-day drum corps and was named to the DCI Hall of Fame in 1997. But in 1986, after a first-ever DCI championship three-peat (1984, 1985 and 1986), The Cadets faced deep financial difficulties—to the point where its debt equaled its operating budget: nearly $400,000. “With the assistance of a friend and board member, Gregory Pych, we worked out a $50,000 grant from a local corporation,” Hopkins says. “Somehow, over the following years, we were able to hold the wolves at bay and eventually rise to a fiscal status I would say was distressed versus doomed. … We talk about the days when we had no money, when we lived on the edge going from place to place, but frankly, those are the stories that do not bear repeating.”

Building a Legacy Hopkins notes that the corps’ instructional staff, great kids and hard work have kept the corps at the top. “We have been fortunate to have great people on board here for long periods of time,” he says. “Tom Aungst, April Gilligan, Marc 20

Sylvester and Jay Bocook, to name a few, have laid the foundation of today’s corps for over 20 years. With dedicated and enthusiastic members who are willing to work as hard as anyone in the country, we are bound to be successful.” Emma Roberts, who has been a part of the corps for nearly a decade, agrees. “The Cadets have always been a symbol of excellence and integrity in the activity,” says Roberts, who is now the color guard caption supervisor. “Through the years, I have learned a few things about why kids come to this special corps. They want to work harder than they ever thought possible. They want to feel the strength of 75 years of tradition behind them. They want to innovate, inspire and entertain.” The Cadets organization has also been a major part of Drum Corps International’s development through the last three decades. In fact, the group was a charter member of DCI in 1972, beginning what has become known as the modernday drum corps era. “The Cadets have been such a contributor to the overall success of the drum corps experience, it is difficult to put words together that would fully describe their outstanding achievements,” says Dan Acheson, DCI executive director and CEO. “Their commitment to innovation, education and entertainment is legendary, and year after year, their work ethic is simply incredible.”

Back to Its Roots Typically known for movement on the field, The Cadets has also been known for its movement off the field. Founded in 1934 as the Holy Name Fife and Drum Corps, the organization was originally sponsored by the Church of the Most Holy Name in Garfield, N.J. Back then, a group of young men (mostly altar boys) in the church competed in auditoriums. In 1936, the group evolved into a marching and maneuvering unit, without the fife instruments. “In our first contest on June 1, 1936, we took 4th place,” says Al Mura, who was a bugle player and drum major from 1934 to 1942. “Not long after that, we won our first contest in Caldwell, N.J. That was the beginning of many first place winnings over the span of 75 years.” Mura, a military veteran who served overseas, credits his time with The Cadets as a major influence in his life. “The new West Point style uniforms in

Famous Performances The Cadets performed in the following national events: • The 56th Presidential Inauguration Parade in 2009 • Macy’s Thanksgiving Day Parade in 2005 • NASCAR Chevy Monte Carlo 400 race in 2002 • The “Late Show With David Letterman” in 2002 • Major League Baseball’s All-Star Game in 1996 • The Summer Olympics closing ceremonies in 1996 • World Cup Soccer game in 1994 • Rededication of the Statue of Liberty in 1986

1939 instilled in the members an uplifting pride and determination for disciplined behavior and excellence,” Mura says. “This musical and marching experience motivated me to make music my lifetime career, both as a teacher and music arranger.” For the 75th anniversary, The Cadets will be recognized as the Holy Name Cadets to honor its history. “It’s a thrill to belong to an organization with such grand heritage, and I admit, I am in awe,” Hopkins says. “How could they know what they were beginning, and yet, today, here we stand. The same corps, the same commitment to excellence, the same service being offered to young adults.” Despite its positive early foundation, the church ceased its relationship with The Cadets in 1958, resulting in the ensemble’s first name change to the Garfield Cadets. Then in 1988, the group relocated to Hackensack, N.J., taking the name of The Cadets of Bergen County. In 2004, the corps moved to its current location in Allentown, Pa., becoming simply The Cadets. According to George Hopkins, tight budgets and the high cost of living in the New York area forced The Cadets out. In Allentown, The Cadets set up shop in a 25,000-square-foot former advertising office and signed a 30-year lease that began in 2004. “The location of the building is certainly more advantageous than the cramped quarters they previously had,” says Larry Markiewicz, utility brass instructor for The Cadets. “Also, having a youth-based arts organization in that area of Lehigh Valley seems to be a great fit for the community.

they come by to see the corps,” says Markiewicz, a brass instructor on and off for The Cadets since 1992. “We have always had great alumni support, but the past few years, the alumni are much more visible. For this 75th anniversary season, it is exciting to see such great enthusiasm and energy behind it.” Hopkins expresses gratitude to everyone who has ever been a part of The Cadets organization. “We thank all of those who support our efforts and congratulate

anyone who has ever been a member of The Cadets,” Hopkins says. “And finally, to all volunteers—today and yesterday— thank you! We could not have done it without you.” Note from the Editor: Visit the Halftime Magazine booth at DCI World Championships for your chance to win an enlarged photo of this issue’s cover, celebrating The Cadets anniversary.

About the Author Gregory M. Kuzma (www.gregorymkuzma.com), who simply goes by GM, is a consultant for the performing arts, freelance writer and author of the book “On the Field from Denver, Colorado … The Blue Knights!,” which highlights his 1994 summer tour adventures as a drum corps member. Glory Days: Members of The Cadets celebrate a DCI World Championship.

Living History According to The Cadets organization, nearly 6,000 young men and women have marched with the corps. Approximately one-third of those former Cadets currently serve as music educators and administrators across the country. One notable Cadets alum who has come back to help the brass of The Cadets is Al Chez. He marched with The Cadets from 1978 to 1982 and has been a trumpet player for the “Late Show with David Letterman” since 1997. The diamond anniversary has helped bring alumni back to support the modern-day Cadets. “The Cadets members love interacting with the alumni when 22

75th Anniversary Celebration The Cadets Summer Diamond Bash, open to alumni, fans, and volunteers, will be held at Montclair (N.J.) State University on Aug. 1. The festivities will include the following highlights: • Seven decades of Cadets alumni and staff • The largest historical exhibit gathered under one roof • Honors to all past drum majors and directors • A one-time appearance by the Cadets Alumni Corps • A concert by the 2009 Cadets The Cadets will also host a pre-show tent party on Aug. 2 at Giants Stadium in East Rutherford, N.J., prior to the Music in Motion show. Visit www.yea.org for more details and tickets.

1. Rockford, IL • 6/19 2. Chambersburg, PA • 6/19 3. Walnut, CA • 6/20 4. Stillwater, MN • 6/20 5. Annapolis, MD • 6/20 6. Riverside, CA • 6/21 7. Menomonie, WI • 6/21 8. Mankato, MN • 6/22 9. Pittsburgh, PA • 6/22 10. Sioux Falls, SD • 6/23 11. Dublin, OH • 6/23 12. Rio Rancho, NM • 6/23 13. Glendale, AZ • 6/24 14. Toledo, OH • 6/25 15. Des Moines, IA • 6/25 16. Normal, IL • 6/26 17. Clovis, CA • 6/26 18. Naperville, IL • 6/27 19. Brockton, MA • 6/27 20. Stanford, CA • 6/27 21. Stockton, CA • 6/28 22. Madison, WI • 6/28 23. Decatur, IN • 6/28 24. Erie, PA • 6/29 25. Dubuque, IA • 6/30 26. Rome, NY • 6/30 27. TBA, IL • 7/1 28. Ft. Edward/ Glens Falls, NY • 7/1 29. Beverly, MA • 7/2 30. Vicksburg, MI • 7/2 31. Bakersfield, CA • 7/2 32. Eugene, OR • 7/2 33. Bristol, RI • 7/3 34. Cedarburg, WI • 7/3 35. Santa Barbara, CA • 7/3 36. Portland, OR • 7/3 37. Pasadena, CA • 7/4 38. Michigan City, IN • 7/5 39. San Diego, CA • 7/5

40. Fairfield, OH • 7/6 41. East Brunswick, NJ • 7/6 42. Tri Cities, WA • 7/6 43. TBA, VA • 7/7 44. TBA, ID • 7/7 45. Kingsport, TN • 7/7 46. Ogden, UT • 7/8 47. Columbia, SC • 7/9 48. Windsor, CO • 7/10 49. Valdosta, GA • 7/10 50. New London, CT • 7/11 51. Denver, CO • 7/11 52. TBA Southern, CA • 7/11 53. Orlando, FL • 7/11 54. Manchester, NH • 7/12 55. TBA Southern, CA • 7/12 56. Hutchinson, KS • 7/13 57. Ft. Walton Beach, FL • 7/13 58. Broken Arrow, OK • 7/14 59. Ocean Springs, MS • 7/14 60. Edmond, OK • 7/15 61. Dallas, TX • 7/16 62. Houston, TX • 7/16 63. Houston, TX • 7/17 64. Dallas, TX • 7/17 65. San Antonio, TX • 7/18 66. Winslow Township, NJ • 7/18 67. TBA Northern, CA • 7/18 68. Denton, TX • 7/19 69. TBA Northern, CA • 7/19 70. Lafayette, LA • 7/20 71. Van Buren, AR • 7/21 72. Monroe, LA • 7/21

73. Hattiesburg, MS • 7/22 74. Murfreesboro, TN • 7/23 75. Gadsden, AL • 7/24 76. Murfreesboro, TN • 7/24 77. Atlanta, GA • 7/25 78. Omaha, NE • 7/25 79. TBA, NY • 7/25 80. Charlotte, NC • 7/26 81. Salem, VA • 7/27 82. Eau Claire, WI • 7/27 83. Charleston, WV • 7/27 84. South Lyon, MI • 7/27 85. Sevierville, TN • 7/27 86. Richmond, KY • 7/28 87. Madison, WI • 7/28 88. Belding, MI • 7/29 89. Warrenton, VA • 7/29 90. Centerville, OH • 7/29 91. Columbus, OH • 7/30 92. Greendale, WI • 7/30 93. West Chester, PA • 7/30 94. Dubuque, IA • 7/31 95. TBA, MI • 7/31 96. Lawrence, MA • 7/31 97. Allentown, PA • 7/31 98. Allentown, PA • 8/1 99. Clifton, NJ • 8/2 100. Buffalo, NY • 8/2 101. Dayton, OH • 8/2 102. Massillon, OH • 8/3 103. Toledo, OH • 8/3

Michigan City, IN Open Class Quarterfinals • 8/4

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Events and dates subject to change.

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F New rules allow drum corps to use electronic instruments and sound effects during performance, but will these changes drastically affect what we see and hear on the field this summer? Individual corps share their reactions and show plans. 24

or the 2009 season, Drum Corps International (DCI) debuted several new rules regarding the use of technology such as electronic instruments, amplification of individual musicians on the field and the use of sound effects (though not recorded musical sounds). DCI recently clarified these rules, indicating that electronic music must be performed live; pre-recorded musical loops and sequences will not be allowed while sound effects and “spoken word” may be used. As DCI enters its first season with these controversial new rules, Halftime Magazine caught up with several directors to find out whether their corps will embrace these opportunities—or not.

The Blue Devils David Gibbs, Executive Director 2009 Show: “1930” depicts a nation “standing at the gateway of the Great Depression” following the market crash of 1929. It contrasts an economic storm front with the beauty of American optimism.

Electronics Use: The Blue Devils won’t be explicitly featuring technological use but will utilize some understated electronic effects in addition to regular amplification.

By Eddie Carden

Photos by Jolesch Photography, www.jolesch.com

We have the show done, and electronics is a part of that show where appropriate and where it needs to be enhanced. It’s in the show, but I couldn’t even point out one particular effect. We don’t even think about it as a singular issue; it’s just a part of a bunch of ingredients of how we put together this year’s production. If [technology is] used correctly, it’s going to provide a huge amount of opportunities—enhancement of show concepts. … Used in context with what you’re trying to get across to the audience, the mood and emotions, it provides a lot more tools to create a great show and entertainment package for the audience. It’s just going to continue advancing the activity. It gives us a bigger paint bucket, a lot of color spectrum. It gives us a lot more options, so we can keep advancing the creative designs of the shows and the effects of the shows for the future. The audience will dictate. If the audience doesn’t like it—if they don’t enjoy it—we’re doing it wrong or using the wrong tools, and we’ll stop doing it.

The Cadets George Hopkins, Director 2009 Show: “Lenny” chronicles the life and work of famed American composer Leonard Bernstein. Electronics Use: The Cadets will use electronics and sound effects to support its homage to Bernstein but hopes to remain loyal to the music. We’re still marching bands. People use the word authentic; I always cringe at this. Leonard Bernstein never planned for his music to be on a marching field. You’re always at some level changing the intentions of music. Why not open those doors? What music might we play if we did have electronics? Drum corps, our musical choices, are very conservative, and occasionally someone wanders into some jazz pieces. As a result, I think, we only appeal to a certain part of the audience. What if it was possible for us to recreate hip hop? What if we could do Led Zeppelin and make it work? What if we could take

the best of what we have and combine it with another musical idiom? Maybe we could get kids off the street in urban centers to be more interested in what we do. The lessons that we teach are July/August 2009 25

extremely relevant to them, but the music that we play isn’t. It’s really going to be support; you’re really going to use the bass part of the keyboard to support the lower [instruments]. There’s a percussion break, and you can sample in a different sound; you can sample in a piano; you can sample in something that sounds like string instruments. You can make it more lush, more appealing. Another thing that people are using are sound effects, ... maybe the sound of wind to open the show. I think the material we’re using, the Bernstein, is not really something that [would use a lot of electronics]. If we were doing things that are more modern or less known, we’d probably be more experimental. Right now, the 75th anniversary show, to force in electronics seems kind of artificial. We pretty much wrote the charts without the electronics, and now we’re laying it in. A lot of it had to do with the music but also with the logistics. … I don’t anticipate—I never did anticipate—that [electronics] would be a featured aspect of the show. I think it’ll be organic and that people will figure out as time goes on what’s appropriate. … I think it’ll be a little bit slow to get around. … If people can find tasteful ways to use the technology, it’ll take off. If it seems like a problem, people will back off.

The Cavaliers Bruno Zuccala, Director 2009 Show: “The Great Divide” chronicles the valleys and peaks of the great mountains. Electronics Use: Using pipe organ and string sounds in conjunction with other sound effects, The Cavaliers will be demonstrating the literal and figurative descent into the canyon and return to the peak. I think the way that we look at the electronics proposal that’s coming this season is that we’re only going to use it if it enhances what we’re going to do. It’s only a secondary or tertiary focus to enhance the program. As we try new things and embellish the thought process that we have, there may be more parts of the show where we use that in some fashion. As far as electronics, it’s a tool like anything else. I look at it as something 26

in our bag of tricks that is going to make the show memorable, that the boys are going to like and extend their educational process with. … The show will stand on its own without it. I think technology is always going to be there for those groups that want to take advantage of it. … Fundamentally its’ still a drum and bugle corps. To move away from our roots is something our fan base wouldn’t be appreciative of.

Colts Greg Orwoll, Executive Director 2009 Show: “Fathoms” encompasses the sounds of the high seas. Electronics Use: Using classic corps sound in conjunction with synthesizers and sound effects, the Colts will draw the audience into the “sounds, colors and hues of water.” We’re incorporating those new options pretty well continually through the show. We’re being careful not to make it too overbearing, but we’ve really found some ways to do some really neat enhancements. We’re using two synthesizers; we added two spots in the pit just for kids that play synthesizers. We’re also doing some sound effects. Most of what we’re doing is live off of the keyboards. We wanted to make sure it was a really great experience for the kids playing those instruments. Given the concept of our show, we’ve been able to take advantage of some really cool things. … The Colts are still going to sound acoustic, but there are going to

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Phantom Regiment Rick Valenzuela, Executive Director 2009 Show: “The Red Violin” is based on the 1998 Canadian film with the same name. Electronics Use: Phantom Regiment will retell the story of the treasured violin with rich red hues and a traditional corps approach.

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be some neat little twists in there. … One of the sounds we’re going to use that’s uniquely available this year because of this rule change is the sound of an ocean liner with the ship horn. We’re going to have sounds of the bells on buoy markers. We’re going to have running water [sounds]. And we’ve added waves and SOS signals. Some of the pit sounds, we’re going to enhance it and add to it. My opinion is that anything used correctly and done tastefully is going to be an enhancement. I’m not one of those—it’s black and white, and this is the coming of the devil or anything. I’m curious to see what some of our peers come up with. Somebody might just be out of the box. There’s going to be one corps that the other directors are going to point to and say that’s not what we meant. Everything evolves. I was one that was opposed to this. Now that it’s here, we’ll jump on it just as much as anybody. ... If we’re going to do it, we might as well do it well. As much as anything, we’re trying to explore the colors, pitch and hues that you’d experience in the water. Different depths—not only the colors changing— but the sounds changing. We’re using electronics to really try to enhance that experience for our audience as well.

As of right now, we have no plans on using electronics other than the amplification stuff we use now. We’re pretty much happy to use what we have at our disposal. It’s been on the radar and on the board for a long time. There are strong positions for it as well as against it. I know some of our staff that are for it, and then there are a few of us that have been opposed to the stuff including amplification just because of our take on drum corps. I’m not against change. Who knows? Maybe we’ll use it in the future. If we do DO anything, it’s going to be very minimal. And would take place during the corps warm-up. Some corps are going to use it well; some corps will use it horribly. That’s how amplification went. … It’s going to take awhile to figure out.

About the Author Eddie Carden is an editorial intern for Halftime Magazine. He is a recent graduate from the University of Southern California (USC), with a major in public relations and neuroscience. He has been playing the trumpet since the fifth grade and served last year as the drum major for the USC “Spirit of Troy” Trojan Marching Band.

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While a number of drum corps left the field the past few years, The Music City Drum and Bugle Corps has defied the odds by becoming a new Open Class corps this year.

hereâ&#x20AC;&#x2122;s a new kid in town this summer. From Nashville, Tenn., the Music City Drum and Bugle Corps will march its first season in Drum Corps International Open Class. Halftime Magazine spoke with Keith Hall, executive director of Music City and owner of uniform manufacturing company The Band Hall, to find out about this new group.

Halftime: Tell me about your band/corps experience. Hall: I marched in Memphis Blues Brass Band Drum and Bugle Corps in 1980 and was one of the drum majors, and I was a band director for nine years before starting The Band Hall. I also used to teach for Sky Riders Drum and Bugle Corps Halftime: Why did you decide to start this corps? Hall: Because my drum corps experience with Memphis Blues was such a positive one, I wanted to be a part of starting a drum corps for a long time. We wanted sort of a wholesome image for the corps and also one that didnâ&#x20AC;&#x2122;t have a real specific identity, so that we could change the music from year to year. The uniform is just very all-American. Halftime: Where did the corps get its funding? Hall: Contributions from individuals. This first year was such a limited rehearsal and touring schedule that we have a much smaller budget than likely any drum corps has ever had. Most of the instructional staff is strictly volunteer.

Halftime: Who are the current members? Hall: We’re focusing our recruiting efforts on college students. So the average age is 19, and they are more accomplished and experienced players, and a few of them have marched in drum corps before. Halftime: What kind of responses have you received from the local community? Hall: My company, The Band Hall, is helping with uniforms and flags. The top of our list right now is seeking local sponsors. We [had] our first public performance at the CMA Music Festival and [led] the parade. It [was] our first chance for the people of Nashville to see the corps, so this [was] our big effort to seek potential corporate sponsors. Halftime: What was DCI’s response? Hall: DCI has been very helpful. Of course they’re always interested in new drum corps forming. They’re encouraging us to start small and grow slowly, keeping everything on a strong foundation. Halftime: What has been the hardest part about starting the corps? Hall: Just the fact that it’s the first time for everything. … The staff not knowing each other, and everyone having a differ-

ent idea of what a first-year Open Class corps should be, and the members not exactly knowing what they’re signing on for, and everything coming together with a unified vision has been hard. I’m already looking forward to the second year where everything will be much easier, especially recruiting because all your prospective members will have seen the corps the first year and have a much more concrete idea of what they can expect the corps to be. Halftime: What would you say are the corps’ founding principles and ideals? Hall: It’s just wanting to entertain the audience, having fun and giving a great performance. Halftime: What is this year’s show? Hall: The show is in three parts: The first

part is about what we are, the second part is about where we’re from, and the third part is about where we’re going. So the opener includes several famous marches, and the second tune is “Tennessee Waltz,” and the third tune is a very exciting forward-moving arrangement of “Appalachian Morning.” The show is entitled “STRIKE IT UP … a celebration!” Halftime: How is Music City different from other corps? Hall: I would like to make the drum corps experience available to students without asking them to live, breathe and eat drum corps. So it’s possible that we always have the shortest rehearsals and the shortest touring schedule and the smallest membership fees.

About the Author Elizabeth Geli is an editorial assistant at Halftime Magazine. She began playing the flute 13 years ago in Placentia, Calif., and marched in the Valencia High School Tiger Regiment. She earned a degree in print journalism from the University of Southern California (USC) and marched in the Trojan Marching Band (TMB) for four consecutive Rose Bowls and Parades. Now she is working on a Master’s in Specialized Journalism (The Arts) at USC and is a graduate teaching assistant and band librarian for the TMB.

Behind the Baton By Sabrina Lochner

s I stood in a block formation with 100 other Syracuse University (SU) freshmen, the garage door to the Carrier Dome clinked open. After the final, echoing “clank,” we were engulfed in silence. Slowly, we marched to the center of the football stadium. The signature sea of orange fans and deafening chants of “SYRACUSE” were gone. Instead, an army of Syracuse University Marching Band (SUMB) veterans stood at attention at the opposite end zone. Thus, we began a SUMB band camp tradition called “Silent Drill.” As ritual required, the two groups silently and simultaneously marched a drill sequence. After the last maneuver, the silence was broken with an explosive, unifying and guttural, “Pride.” Excitement pulsed through my veins because I had just been initiated into

A young drum major learns the value of passion and hard work to gain the respect of her fellow band members. the SUMB family. Little did I know, my collegiate identity would become further intertwined with the SUMB.

New Responsibilities After my freshman year in marching band, I decided to audition for the role of drum major. My iPod became a new fashion accessory as I deconstructed scores and practiced conducting. Although three leadership positions were open, band members told me that because of my age, I would not get a spot. To my surprise, I received a position. I was nervous about how others would perceive me. Half of the people would be

older than me and have more experience in the organization. My practice and hard work had afforded me the opportunity to lead, but I still needed to prove myself. I had been a drum major for two years in high school, but I had more responsibility at SU. My director was willing to listen and implement some of my music and hornswing suggestions. I also had a real voice in planning band camp and used a headset to communicate with the band during drill rehearsal. It was also my responsibility to conduct our shows and stand tunes. Conducting in the football stands taught me to think quickly and to keep my cool when the unexpected happened. My

clarinet teacher had always instructed me to enter an audition mentally prepared for a mistake, so I could recover strongly. I found this advice helpful in the stands where I had to act decisively and instantaneously. It was my job to watch the game and correctly start and stop the band. I was terrified that I would accidentally give our football team a penalty by not cutting the band off at the right time. Thankfully, I was working with two other drum majors who taught me the value of leaning on one another to get the job done.

Emotion and Passion

the first time. His memory encouraged me to fulfill my true potential in both music and life. Conducting became an outlet to express my emotions, and music became a way to live in the moment. During my college drum major audition, I could not help but bring that raw, underlying emotion into my performance. I conducted in a different style than what the SUMB used and was an underdog as a freshman. However, after I performed, many members approached me to say that they could see passion in my eyes. This year, when drum major auditions rolled around, I was sure to respect the auditioning underclassmen. Who was I to say that they did not have the same fiery passion that was invisible on the surface but infectious when unleashed in front of the band? I have learned that age is irrelevant when it comes to leading.

A Tall Order I would liken being a drum major to achieving a certain state of mind. It is a matter of putting others before you. It is a willingness to make sacrifices and accept that not everyone will agree with you. It is realizing that the job does not end when you walk off the field. You live, study and socialize with the same people you try to motivate. And it is your duty to carry yourself with poise in all circumstances. It is a tall order. However, I could never ask for a more rewarding feeling than running out onto the field with 200 other band members during the SUMB’s traditional pre-game sequence. And I could not think of a better way to feel alive than by living in each temporal moment that I conduct.

I am thankful that I joined the Pride of the Orange. My involvement has opened doors of opportunity that I never thought possible. I have conducted the halftime show of an NFL football game. I have led the band on the orange carpet during the world premiere of the movie “The Express.” About the Author And I have made some of the best friends while cheering on our alma mater. Sabrina Lochner, a senior at Syracuse University, is majoring in magaThe position of drum major has been zine journalism and political science and minoring in architecture. She integral in my life. I have viewed various currently serves the Syracuse University Marching Band as head drum 1723WGI_1-2pgHalftimeMagAD_061509:Layout 1 6/15/09 3:24 Page 1 band’s associate drum major for two years. milestones through the drum major lens. major and hasPM served as the In high school, I grieved the death of She has played the clarinet since fifth grade and is a sister of Tau Beta my band director while trying to lead for Sigma, National Honorary Band Sorority.

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Fitness to the MAx

By Blair Trygstad

Possible Dangers of Pain Medication While over-the-counter pain medication can provide quick relief from muscle aches, overuse can cause blood disorders and even stroke.

Blair Trygstad is a sophomore at the University of Southern California, majoring in kinesiology (pre-occupational therapy) and a member of the Trojan Marching Band. A bassoonist for seven years and a dancer all her life, Blair began her color guard career at Naperville (Ill.) North High School. She has also taught the Naperville Steperette Cadets Winterguard. Despite her difficulties, Blair loved her 2008 season as a color guard member of a top 12 World Class Drum Corps. Although she is taking a hiatus in the 2009 season, her color guard career is far from over.

s I lay in the hospital with an IV siphoning blood into my veins, I simply couldn’t believe this was where my rookie season of drum corps had landed me. The symptoms had started in mid-July: severe leg cramping, headaches, labored breathing, swelling of my legs and feet. By finals week, I also experienced pitting edema, neck stiffness, tingling in the fingers and toes, and chest pain. I had come this far, so I finished finals week even though I was only able to perform half the show. A week after finals, a doctor diagnosed me with a heart murmur and severe anemia, which involves a low level of red blood cells or hemoglobin (the iron-based component that helps blood transport oxygen). Normal levels of hemoglobin in an 18-year-old Caucasian female are 12 to 14; mine was 6.3. I was admitted to the hospital the next day. My body was checked for blood clots, internal bleeding and irregular heart function, anything that might explain severe blood loss. I received approximately two liters of blood, which took eight hours to be dripped into my bloodstream. After my transfusion, my hemoglobin level was up to 9.6. The heart murmur was gone. None of the tests offered any reason why I was so anemic. My doctors concluded that the level of ibuprofen I had been taking while on tour was the only logical explanation for my illness.

Side Effects I had started taking over-the-counter ibuprofen consistently after an earlyseason sinus infection. I heard people all 34

around me saying they took five or six pills in the morning, so I figured I wasn’t doing anything wrong. Eventually I was taking nine pills a day. I had no idea these helpful little pills were causing most of my problems. Ibuprofen and aspirin are blood thinners, which decrease inflammation and stop pain. But, according to the medication label, when taken at a higher-thanrecommended dose, for a long period of time or when combined with alcohol or other drugs, they can cause anemia, stomach bleeds and even heart attack or stroke. My condition may have been aggravated by my steroid asthma medications. To this day I do not have a complete answer as to what specific conditions caused my deterioration.

Listen to Your Body I was forbidden to use ibuprofen or aspirin and prescribed iron supplements three times a day. I recovered fully in four months and haven’t had a problem since. I will never forget that night in the hospital, but I wouldn’t have given up my chance to perform in Drum Corps International World Finals for anything. Next time, though, I’ll pay more attention to the directions on my pill bottle and the signs my body is giving me that something is worse than normal rookie aches and pains. For tips on how to protect your health during your drum corps tour, check out the “Web Exclusives” section of our website at www.halftimemag.com.

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Across 1. 911 responder (abbrev.) 4. Texas senator ___ Bailey Hutchison 7. In the center of 11. Dallas NBA team, to fans 13. Exhaust (2 words) 16. “___, Where’s My Car?” (2000 movie) 17. Killer whale 18. “O Pioneers!” novelist Cather 19. It’s usually worn with a tie 20. This city’s Vanguard tied in the 1999 DCI Finals, playing sections of Barber and Ticheli’s Symphonies #1 and #2 (2 words) 23. Homer Simpson’s bartender 24. Winner of the 1975 DCI Finals, playing “Rhapsody in Blue” and “The Way We Were” (2 words) 36

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26. Division that includes the Red Sox and Yankees, for short 28. “Can ___ You With My Heart” (Travis Tritt song) (2 words) 29. St. Patrick’s Day month (abbrev.) 30. Injury from heavy lifting (which you don’t want to get carrying heavy instruments) 33. Winner of the 2008 DCI Finals, playing selections from the ballet “Spartacus” (2 words) 40. First name of California’s “Governator,” slangily 41. Take a little drink 42. Seek, as a goal 45. Sweaters with an angular cut (hyph.) 48. Winner of the 1991 DCI Finals, playing “Pines of Rome” and “Fountains of Rome” (3 words)

52. Attempt 53. Winner of the 2003 DCI Finals, playing a group of Dave Brubeck songs (2 words) 55. Out-of-control crowd situation 57. “___ As Ever” (Shabba Ranks album) (2 words) 58. Oohs and ___ 60. Numbered composition 61. “Fiddler on the Roof” protagonist 62. Letters after B 63. ___ good example (2 words)

64. Education service district (abbrev.) 65. That, in Spanish Down 1. My Chemical Romance’s genre 2. Neighbor of Earth 3. It may film you for local sports segments (2 words) 4. Country on the Persian Gulf 5. Japanese company that makes sportswear and running shoes 6. Mello ___ (Mountain Dew competitor) 7. Infomercials, e.g. 8. Loose, flowery Hawaiian dress 9. They’re hardly rocket scientists 10. Hate with a passion 12. Actress Lathan of Tyler Perry’s “The Family That Preys” 14. ___ Bator, Mongolia 15. Evaluating sentence structure, in grammar 21. Six-point football scores (abbrev.) 22. When Juliet says, “Wherefore art thou Romeo?” (2 words) 25. “___ I origami, folded up and just pretend ...” (lyric from Eve 6’s “Inside Out”) (2 words) 26. Box hooked to an electric guitar 27. “Well, ___-di-dah!” 30. Medical provider group (abbrev.)

31. Schubert’s “The ___King” 32. St. Louis Cardinals uniform color 34. Hair removal brand 35. Pulsate 36. Feature of F major’s key signature (2 words) 37. Cadillac SUV popular with rappers 38. Suffix after beat or neat 39. Vandalizes a house with paper rolls, for short 42. Houston baseball team 43. Zebra feature 44. Monetary reward 45. Watched 46. Abbreviation in GPS system names 47. Historic name in supercomputers 49. “Cherish is the word ___ to describe ...” (“Cherish” lyrics) (2 words) 50. “The ___ of some people!” 51. Dates set for launching invasions (hyph.) 54. The Beatles’ “___ Leaving Home” 56. Airport screening organization 59. Bay Area airport code Solution For the solution go to Halftime Magazine’s website at www.halftimemag.com. Click on “Current Issue,” then “For Fun.”

About the Author Matt Jones is a 1998 graduate of Willamette University in Salem, Ore., where he majored in music education. Since 1994, he has also written crosswords for venues such as The New York Times, Games Magazine and Stagebill. He currently writes a syndicated weekly puzzle for more than 50 alternative newspapers across the country.

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