Halftime magazine January/February 2010 by Halftime Magazine

January/February 2010

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Volume 4, Issue 1 www.halftimemag.com $4.95

Going Bowling 3rd Annual Coverage of College Bowl Bands $4.95 U.S.

$5.95 Canada

ISSN 1939-6171

Volume 4, Issue 1 January/February 2010 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 Jerry Hayes Photography, Austin, Texas

Assistant Editors Catina Anderson and Gregory M. Kuzma

Editorial Assistant Elizabeth Geli

Editorial Intern Sabrina Lochner

Accounting/Admin Assistant Guido Jimenez

Contributing Writers Catina Anderson, Courtney Brandt, Jeff Coffin, Dennis DeLucia, Robert Gagnon, Haley Greenwald-Gonella, Alex Isao Herbach, Matt Jones, David Saad, Chase Sanborn

Contributing Photographers Ben Chua, Ed Crockett, Tom Emerson, Jerry Hayes Photography, Steve Johnson, Ken Martinson/ Marching.com, Tom McGrath, Brett Padelford, RollTideBama.com

Web Developers Mike McCullen and Jeff Grant Integrated Communications

Advisory Board Dr. Arthur C. Bartner, University of Southern California Trojan Marching Band Tony Fox, University of Southern California 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

appy New Year, and welcome to a new decade. There’s nothing like a parade to help you feel optimistic and joyous. So, in my opinion, there’s no better way to spend New Year’s Day than watching gorgeous floats and unique bands go by on Colorado Boulevard in the 121st annual Rose Parade. (See our 3rd annual photo spread on page 18 as well as coverage of other bowl bands throughout the issue.) This year’s Rose Parade theme, “A Cut Above the Rest,” celebrated everyday heroes and those who inspire others by striving for continual improvement. The parade entries did not disappoint as they showcased philanthropists, athletes, military veterans and unique musical ensembles. Highlights included Grand Marshall Captain Chesley B. “Sully” Sullenberger who showed bravery and skill by safely landing a commercial airplane in the frigid Hudson River in January 2009; snowboarding dogs and a new Guinness World Record set by the float sponsored by Dick Van Patten’s Natural Balance Pet Foods; and the Ohio State School for the Blind, known to be the only blind marching band in the country and perhaps even the world. Another unsung hero stepped up this year. Faced with a difficult economy, the honored marching ensembles needed to work even harder to fundraise for their trips to Pasadena. Farmers Insurance Group, which is celebrating more than 50 years of Rose Parade participation, has become the Official Supporter of the Rose Parade Bands, helping high school bands raise thousands of dollars throughout the year by matching funds, donating raffle prizes and orchestrating local activities including

Art Director

hot air balloon rides. Its Rose Parade float “Salute to the Bands” showcased a 60-foot trumpet player. These individuals and groups show that even in times of stress and uncertainty, we can all work harder and be more creative to rise above the crowd. Make 2010 a banner year! Christine Ngeo Katzman Publisher and Editor-in-Chief P.S. Ring in 2010 with a special $10 subscription price (available for a limited time). Jump on the bandwagon and subscribe now at www.halftimemag.com/ articles/subscribe to enjoy the sights, sounds and spirit of the marching arts all year long.

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. 2

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Features AnForOfficer and a Musician.................................12 many musicians, finding steady employment is a challenge in itself—but the professionals in the United States military are well provided for and get to do what they love everyday while serving their country. Here are profiles of musicians from the United States Navy, Army, Air Force and Marine Corps. By Elizabeth Geli

Rosy Day................................................................................18 The Tournament of Roses annual parade, now in its 121 year, st

is a tradition that helps billions of people around the world ring in the New Year. This year’s theme, “A Cut Above the Rest,” celebrates everyday heroes. Enjoy our 3rd annual photo spread.

Going Bowling........................................................................22 Although every band has its own traditions and ways of

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Departments Publisher’s Letter........................................................2 Readers’ Letters.............................................................4 Gear Up......................................................................................5 Pearl Championship Articulite Series, E-Practice Pad, Rock-Stix LED Drumsticks

Noteworthy........................................................................6 Wishing to Perform, Top 10 from 2009 Nominations, Sweet Second Victory for Avon, Excerpt from “Keeping in Line” Novel, Drum Corps Come and Go, Merry TUBACHRISTMAS

Sectionals.............................................................................8 Why Tone?, Close Your Eyes, Judging Indoor Percussion, Off-Season Training for Guard

Regionals. .............................................................................10 Calendar of events organized by region Direct From........................................................................28 USC Trojan Marching Band Behind the Baton....................................................... 32 Wildcats in the Outback Fitness to the Max................................................... 34 Winter Warm-Ups For Fun..................................................................................36 Crossword: BCS Bowl Songs?

preparing for the BCS bowl games, each director must balance responsibilities of getting the band performances ready and making sure students arrive and get home safely while having fun on the way. By Robert Gagnon

Web Exclusives • More Rose Parade Photos • New DCI Show in Minnesota • And More ... Read these stories and more exclusively at www.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 • The Role of Music Retailers • Music Museums and Exhibits • School Policies on Physical Education and Equipment • And More ...

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

Readers’ Letters I feel so silly that I wrote your magazine before I actually scrolled down, clicked here and there to find helpful information, answers to many of my questions regarding financial aid. My name is Laura Arce, mother of 2009 World Champion Blue Devils’ Triple Crown winner, Nick Arce. I am finding many avenues where I can seek financial assistance to be able to continue to support Nick with his passion he has for drumming. … Thank you again for the acknowledgment you give all talented musicians because that is something our local schools do not do, and it is these talented drummers that have helped put their graduating high schools on the map ... Everyone deserves recognition for their talent and effort. — Laura Arce, Proud “BD 10er Mom”

My name is SGT Jamie Bennett, and I’m sure that you may know a lot of marching members that are now in the military and deployed. I just wanted to pass along to you that I have subscribed to this great magazine, but it is hard to get it to where I am now, which is Iraq. I have been a musician all of my life it seems. Through middle and high schools, college and drum corps, teaching and performing and even throughout my military career as a musician in the Marine Corps and now in the Army.

I recently volunteered for a deployment to Iraq, which is where I am now, and I find myself in a strange place in my life. This [was] the first summer since 1988 that I have not seen or performed in DCI! To go cold turkey like that is hard, but I am hanging in there with my collection of videos and tunes. I didn’t know if this may be something of a story for you or not, but I just wanted to pass along how grateful I am for your magazine. Thank you for your time. — SGT Jamie Bennett

Correction from “Bowl Bound,” January/February 2009: The correct name for the band at The Ohio State University is The Ohio State University Marching Band. They are also commonly referred to as “The Pride of the Buckeyes” or “TBDBITL (The Best Damn Band in the Land).” They are never called anything else, including “Ohio State University Buckeye Band” as in this article. I only thought I’d leave a comment since the rest of the bands in this article seem to be referred to correctly. — Nicholas Curtis

official supplier

Visit us online at quantummarching.com. Become a Fan. Join Facebook groups Jupiter Quantum Brass Instruments and Mapex/Majestic Marching Percussion. 4

By Elizabeth Geli

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

Rock-Stix LED Drumsticks

E-Practice Pad

Pearl Championship ArticuLite Series

earl Drums has released two new drums in its Championship ArticuLite Series that cater to the needs of competitive drum lines. The newly redesigned FFX1410/A snare drum is one inch smaller in diameter and depth to create a crisp articulation that works for both indoor and outdoor competition. It features a six-ply maple shell, high durability hardware strainer, aluminum alloy edge ring and rims, and is lightweight for increased mobility. The PSMT Tenor compliments the FFX1410/A snare and features many of the same elements. The redesigned aluminum alloy tension casings have been substantially reduced in weight and provide a sleeker appearance. The shallower shells create a tight sound and allow the player to move quickly. The set is available in six different configurations. Both products come in standard black or white and can be made in custom silver, blue or red. For more information, visit www.pearldrum.com.

he E-Practice Pad from Alesis allows drummers to learn and practice interactively with more than 50 different games and exercises, 65 different drum sounds and a builtin advanced metronome. Practice can be done alone or in a group as the pad is compatible with headphones for silent practice as well as standard amplifiers and stereo systems. It can also be mounted on a snare or cymbal stand and expanded by purchasing a bass drum or hi-hat pedal and can even be used as part of a drum set to introduce new sounds in your performance. “The E-Practice Pad makes learning your rudiments fun,” said Jim Norman, product manger at Alesis in a press release. The pad is even equipped with recording and playback options, so that you can listen to your own playing. The sensitive surface reflects the full range of dynamics. With practice exercises such as Beat Check and Stroke Balance, the

E-Practice Pad “[helps] you grow as a drummer, developing your time, dynamics, consistency and more,” according to the website. Alesis manufactures a wide range of electronic drumming products for both professionals and beginners. For more information, visit www.alesis.com.

Several country and rock band drummers have used Rock-Stix to light up their live shows, and many players use them at home with video games such as Rock Band and Band Hero. Rock-Stix come with batteries that can be easily replaced. To order, check e-tailers such as www.drumbum.com and www.abcdrums.com.

ooking to add a little extra flash to your drum line? Rock-Stix by Buztronics Inc. are LED drumsticks that light up when tapped for an eye-catching effect. Available in both red and blue, Rock-Stix are the same size and weight as traditional drum sticks and made of professional-strength Lexan plastic, making them difficult to break. Sticks that turn into all the colors of the rainbow will be available soon.

January/February 2010 5

By Sabrina Lochner

The University of Notre Dame’s marching band did more than entertain fans on Nov. 21, 2009; it granted a 15-year-old’s wish through the Make-A-Wish Foundation. Jacob Krauss, a high school freshman, assembled his clarinet as usual, but the day wasn’t ordinary. He donned a Notre Dame uniform and played with the band during its pre-game performance. Krauss has cystic fibrosis. Thick mucus buildup in his digestive track and lungs can be life threatening. Malnourishment and respiratory failure become concerns. But that hasn’t stopped Krauss from playing the clarinet, saxophone, guitar and percussion. While Krauss plays in jazz band and percussion band, his high school cancelled the 2009 marching band due to low student interest. But, Krauss got the ultimate marching band experience when he left his hometown in Colorado to play at Notre Dame. Krauss felt the rush of performing in a stadium with about 80,000 seats during the pre-game show and throughout the game. He also attended a pep rally, received a private lesson from one of the band’s instructors, conducted the band from the podium at rehearsal and received a first-year band pin. While Notre Dame’s football team lost to the University of Connecticut, the experience for Krauss was dreamlike. “I’m a football fan, but I didn’t care about the team winning or losing; it was the actual playing with the band that I was worried about,” he said. “It was amazing.” 6

Top 10 from 2009 Nominations For the second year, Halftime Magazine is compiling a list of top 10 marching moments involving any marching ensemble including college, high school, drum corps, indoor percussion, winter guard, pageantry/parade and all-age during the 2009 calendar year. The 2008 list included Bethune Cookman University’s “Obama Drill,” the U.S. Olympic Orchestra performance in Tiananmen Square, and Phantom Regiment’s comeback and win in the 2008 Drum Corps International World Championships. Nominate your favorite 2009 moments online in the comments section for this article or by emailing admin@halftimemag.com with subject line, “Top 10 from 2009.” Comments must be posted and emails sent by Feb. 15, 2010, to be considered. Then read the winners’ list in our March/April 2010 issue.

Sweet Second Victory for Avon On Nov. 14, Avon (Ind.) High School’s marching band waited in anticipation to hear the results of the 2009 Bands of America (BOA) Grand National Championships. The suspense felt familiar to band members that competed the prior year. In 2008, judges named the Marching Black and Gold the BOA Grand National Champion with a score of 97.75, the highest in BOA history. In 2009, the group learned that victory tastes just as sweet the second time. With its top score of 96.60, Avon High School became the first band to consecutively win the BOA Grand National Championships in 18 years. Plymouth-Canton Educational Park from Canton, Mich., won in 1990 and 1991. Avon received the Outstanding Visual Performance and General Effect Awards. It tied with Marian Catholic for the visual accolade and with L.D. Bell for general effect. Avon competed against 90 other high school bands from across the country. Its show, “Comm-UNIFORM-ity,” highlighted the band’s new uniforms and portrayed a struggle with conformity. “Even though we win a lot, we’re not focused on winning,” says director Jay Webb. “We’re focused on being great.” © 2010. Ken Martinson/Marching.com. All rights reserved.

Courtesy of Make-A-Wish Foundation/Notre Dame University.

Wishing to Perform

Excerpt from “Keeping in Line” Novel By Courtney Brandt Drew was not surprised when he saw J.D. waiting at his car that evening. The drum major had to wipe the smile from his face before J.D. knew something was up. Dumping his book bag in the trunk, he asked gruffly, “Can I help you?” J.D. crossed his arms and said, “I hear you’re interested in someone in my section.” “Who told you that?” “So it’s true? I don’t hear you denying anything.” Drew shrugged and responded, “Well, sort of.” “And you want to ask her to Homecoming?” Given there were only three young women in the entire section, there was no need to mention the “her” by name. Drew kicked a tire, “I’m going to kill—” J.D. grinned evilly, “Listen, don’t ask how I know. I have my sources. I was wondering if you wanted to make a bit of a side bet on the situation?” “I don’t like the sound of this…” “Trust me, Bronwyn never has to know. Just a gentleman’s wager.” “That’s pretty low, J.D., even for you.” “She won’t find out. Anyway, what do you care? You’ll be at college next year and not worried about some pathetic high school girl.” Drew waited a moment before asking, “Alright, I’ll consider it. What are the odds?” “She says yes…I’ll personally pay for your entire ‘delightful’ Homecoming evening together.” “Sounds good.” “She says no…you admit personally to my section that you have no leadership abilities or any sort of dominance over them.” “Isn’t it bad enough that she will say no?” “Nope.” Drew scuffed his shoe on the pavement, “Let me think about the terms. In the meantime, do not tell anyone the plan. If I find out that Bronwyn or anyone else in the Line knows…everything is off. Comprende?” “Yeah, just don’t keep me waiting.” J.D. walked off towards his own car. As soon as the snare player was out of sight, Drew called Bronwyn and hoped that she was home. When he heard her voice, he said, “It worked.” “He actually bought it?” “Sure did. So, if I ‘win’ he’s going to spring for our entire Homecoming night.” Bronwyn didn’t know how to respond. While she was glad Drew had been able to accurately predict how things were going to go, she was also a bit sad J.D. would so eagerly bet on her. Finally, she said lightly, “Awww…too bad for ‘us,’ I guess.” Drew laughed, “Yeah, I guess so, and when I lose, I have to admit to the Line that I don’t have any control over them blah, blah.” “J.D. certainly knows how to play hardball, doesn’t he?” “Yeah, I don’t mind so much. As long as I’m telling just the Line and not the entire band, then I think we’ll all be a big happy family again and then we can go onto winning some competitions this season.” “Thanks again.” “Hey, no big deal. With the show going the way it is, it will be a nice distraction. I’m sure by next week it will be old news.” “Well, thanks for calling and letting me know. Night, Drew.” “Night, Bronwyn.” Bronwyn hung up the phone and sighed. Read more about “The Line” series at www.thelinebook.com.

Drum Corps Come and Go For the 2010 drum corps season, audiences will welcome new groups and temporarily say goodbye to others. The Citations Drum and Bugle Corps from Burlington, Mass., which formed in 1967, will take a year off to restructure and pay off debt; the group had also been inactive in 2000 and 2001 for similar reasons. “It’s difficult to be inactive because it’s an activity that we love so much, but every business model needs to take a look at itself every once in a while,” says Donna Monte, the director for 20 years. The group has a policy not to maintain debt, and the decision came after meetings with the board of directors, Monte says. Operations like fundraising will continue, and a 45th anniversary reunion is in the works for 2010. The group plans to return in 2011. Memphis Sound Drum and Bugle Corps, which formed in 2002, is also taking the 2010 season off and may reemerge in 2011. The group had originally planned to relocate to Grand Prairie, Texas, to become Forté Drum and Bugle Corps. However, its plans have changed. Instead, Forté will become a new, separate Open Class corps with alumni and staff from Memphis Sound to lead the charge. In addition, The Spartans Drum and Bugle Corps from Nashua, N.H., will return after taking last season off. And Spokane Thunder Drum and Bugle Corps, which competed with The Cascades in 2009, will return as its own group this coming season.

Merry TUBACHRISTMAS The pouring rain did not stop more than 400 low brass musicians—including fifth graders and 80-year-olds—from performing in the 36th Annual TUBACHRISTMAS in Rockefeller Center on Dec. 13, 2009. Songs like “O Come All Ye Faithful” and “Deck the Halls” entertained New York City goers as they stopped to listen to the concert. TUBACHRISTMAS, a tradition since 1974, allows people of all ages who play the tuba, baritone, euphonium or sousaphone to gather and perform Christmas songs. High school and college marching band members also participated. For example, the Pennsylvania State Blue Band took 30 musicians to the NYC event. In 2009, concerts were scheduled in more than 252 cities around the world, including Baghdad, Iraq, and Basel, Switzerland. The concerts occur on different days beginning after Thanksgiving in various venues including malls and churches.

January/February 2010 7

Why Tone? By Jeff Coffin

What’s so important about tone? Why should I work on it? Nobody listening can really tell the difference anyway? I mean, who cares?!? Well, I do care and I hope you do too. Tone is one of the most important things you can work on. It’s what defines you as a player. I’ve been thinking about how important it is to have control over all dynamic levels of my own playing and how it affects the situations I find myself in. Playing Differently. For example, as I write this, I am on the road with Bela Fleck & the Flecktones, just having come off tour with Dave Matthews Band for most of 2009, and during the months of October and November, I was out briefly with my band, the Mu’tet. All very different musical situations. Each of these groups demands I retain who I am, but I play very differently in each. What’s the key to making this switch effectively? After listening skills, working on tone is the next most important fundamental. Being able to use tone to change the way you play a piece of music is imperative. Your interpretation differs based on the inflection and intention of what and how you are playing and the tone you’re playing with. Manipulating Sound. With the Flecktones, I find my quiet playing becomes much more controlled because I play close to an acoustic instrument. Oftentimes, I end up the loudest player on stage. With Dave Mathews Band, the stage and venue are much larger, and we are further away from each other. My natural inclination is to play with a bit “fuller” tone, which I feel fits the music better. With the Mu’tet, we play much smaller venues, and I can sometimes be more tonally extreme. All rooms and speakers are different, and sound is different from place to place and night to night. We must be able to adjust and manipulate our sound to fit the situation but continue to discover our tone in everything we play. For more on how to get a better tone … please, listen. Oh, and do long tones too. The challenge is great, but there will never be anyone who sounds more like you than you.

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.

Close Your Eyes By Chase Sanborn

Why is it that when you taste something delicious or hear beautiful music, you close your eyes? When you eliminate visual stimulus, you devote full concentration to your sense of taste or hearing to get maximum benefit from the stimulus (food or music). For a musician, ears are our most vital sense. Yet we often neglect them. Reading Music. When you read music, visual information is sent to your brain and from there to various parts of your body to operate your instrument. The quality of the resulting sound depends on your ability to play your instrument and on your ability to convert musical notation into music. Playing by Ear. When you learn or play music by ear, aural information is sent to the brain and from there to your body and the instrument. Again, the quality of the sound is limited by your own abilities; however, the initial sound or stimulus is limited only by what you hear. If you want to sound excellent, listen to excellent music. When you read music, sound is the last item in the chain of events. When you play by ear, sound occurs at the start and the finish. You have the opportunity to compare your sound with the ideal; this is the perfect approach to learning music. Memorizing. As human beings, we default to our eyes. (We are amazed at what the blind can accomplish by sensory compensation.) If there is music on the stand, you will stare at it, no matter how well you know the piece. When practicing, memorize small sections and play with eyes closed. For the best performance, the entire piece should be memorized. Eliminating input from one sense sharpens the others. When you close your eyes, you open your ears. As often as possible—every day!—learn something by ear. This can be as simple as trying to figure out a familiar melody one note at a time or as complex as transcribing full scores or jazz solos. Gear the assignment to your own level but give yourself the chance to work from ear to horn, rather than vice versa.

About the Author Chase Sanborn is a jazz trumpet player based in Canada and the author of “Brass Tactics,” “Jazz Tactics,” “Tuning Tactics” and “Music Business Tactics.” He teaches at the University of Toronto and is a Yamaha Artist. Chase has just released his fifth CD, titled “Double Double.” Visit him on the web at www.chasesanborn.com.

By Dennis DeLucia

Around 1980 a percussion teacher named Ward Durrett had an idea about keeping high school drummers busy and engaged during their off-season. He started an indoor drum line festival in Illinois in which groups would perform on an auditorium stage. Durrett and Fred Sanford brought the idea to the Percussive Arts Society, which initiated its first-ever Marching Percussion Festival at PASIC 1982 in Dallas, Texas. I was a judge at that event. Several circuits sprang up, which led to WGI creating a percussion division in 1993. The rest, as they say, is history! Today, an estimated 1,700 groups participate in indoor drum line events in 40 to 45 local circuits. Approximately 180 of these groups attend WGI Championships each year. In the marching classes, there are three judges, each having two sub-captions on his/her score sheet. Performance. The Performance Analysis judge evaluates Composition (musical and technical content, simultaneous responsibility and clarity of intent) and Performance Quality (musicianship, rhythmic clarity, technique and ensemble cohesiveness). General Effect. The General Effect judge evaluates whether all of the elements in a unit’s presentation combine to display an effective and entertaining program. He/she judges Music Effect (communication, musicianship, creativity, balance and blend, virtuosity, expression and idiomatic interpretation) and Overall Effect (communication, audiovisual coordination, imagination/creativity, pacing/continuity, impacts/resolutions, range of effects and entertainment). Visual. The Visual judge credits the visual design, the reflection of the music and the performance of the ensemble. He/she judges Composition (orchestration, visual musicality, clarity of intent, staging, creativity, attention to detail, unity and simultaneous responsibility) and Performance Quality (ensemble control, accuracy, recovery, uniformity, articulation of body/equipment, style/roles and presence). I’m proud to have been one of the architects of this judging system and to have recently updated my concepts for a new indoor circuit being run by the US Scholastic Band Association.

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

Judging Indoor

Off-Season Training By Catina Anderson

If your school does not have winter color guard, you might be facing the next five to six months “off” now that fall marching season has ended. While you might want a break from daily rehearsal, the off-season is a great time to focus on improving skills, so you’re ready for spring auditions and the increased skill level required of veterans and team leaders. Dance. Beginning ballet technique can help improve both the movement aspects of your fall program as well as your flexibility and coordination. Many dance studios have beginner classes for teenage students. Gather a group from your team and sign up together. Continue Sectionals. Are there several members hoping to learn a new skill set like how to spin rifle? See if you can organize a series of rehearsals to focus on this new skill to help jumpstart the new season! Take in a Show. Attending a winter guard competition as a spectator will open your eyes to new skills. Check out the competition schedule for your local winter guard circuit and the WGI Sport of the Arts website (www.wgi.org) for locations of its regional competitions. Better yet, ask your coach to help you organize a team field trip. Be Independent. Look for local independent winter guards in your area. It may be too late to join their performance team for this season. However, many A-class independent units are hungry for new performers. Try contacting the coach. He or she might be open to allowing you to train with the team for the remainder of the season in hopes that you’ll join them as a performer next season. These are only a few ways to keep your skill set growing during the off-season. Continue to work on your flexibility and stamina throughout the winter, seek out performance opportunities (is the band performing in any upcoming pep rallies for other sports programs?) and don’t let that equipment sit in the corner. Encourage your teammates to join you in training. Your hard work now will really pay off next fall!

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.

January/February 2010 9

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Major Events by Region West WGI Guard Feb 13—Fresno, CA—Fresno Regional Feb 20—Camas, WA—Vancouver Regional Feb 27-28—San Diego, CA—San Diego Power Regional Mar 6—Union City, CA—Union City Regional Mar 13—Mesa, AZ—Phoenix Regional Mar 20-21—Etiwanda, CA—Rancho Cucamonga Power Regional

WGI Percussion Feb 13—Ceres, CA—Ceres Regional Feb 20—Riverside, CA—Riverside Regional Feb 20—Camas, WA—Vancouver Regional Mar 13—Union City, CA—Union City Regional Mar 20—Northglenn, CO—Denver Regional Mar 20-21—Temecula, CA—Temecula Regional

Tradeshows Jan 14-17—Anaheim, CA—NAMM Jan 15-17—Eugene, OR—Oregon MEA Jan 17-19—Cheyenne, WY—Wyoming MEA Jan 27-30—Colorado Springs, CO—Colorado MEA Feb 5-6—St. George, UT—Utah MEA Feb 26-27—Kane’ohe Bay, HI—Hawaii MEA Mar 11-13—Sacramento, CA—California Association for Music Education

Midwest WGI Guard Feb 6—Troy, MI—Troy Regional Feb 20—Kansas City, MO—Kansas City Regional Feb 27-28—Dayton, OH—Dayton Power Regional Mar 13-14—Indianapolis, IN—Indianapolis Power Regional

WGI Percussion Feb 13—Troy, MI—Troy Regional Feb 20—Kettering, OH—Dayton Regional Feb 27—Eagan, MN—Minneapolis Regional Mar 6-7—Indianapolis, IN—Indianapolis Regional

Tradeshows Jan 21-23—Indianapolis, IN—Indiana MEA Jan 21-23—Grand Rapids, MI—Michigan MEA Jan 27-30—Peoria, IL—Illinois MEA Jan 27-30—Osage Beach, MO—Missouri MEA Jan 28-30—Cincinnati, OH—Ohio MEA Feb 11-13—Minneapolis, MN—Minnesota MEA Mar 28-30—Bismarck, ND—North Dakota MEA

Northeast WGI Guard Feb 6—North Huntingdon, PA—Pittsburgh Regional Feb 6—Trumbull, CT—Trumbull Regional Feb 20—Rochester, NY—Rochester Regional Mar 6—Salem, MA—Salem Regional Mar 20-21—Monmouth Junction, NJ—South Brunswick Power Regional

WGI Percussion Mar 6—Trumbull, CT—Trumbull Regional Mar 20—Mullica Hill, NJ—Mullica Hill Regional

USSBA Indoor Feb 6—Upper Darby, PA—Upper Darby HS Feb 13—Pennsauken, NJ—Pennsauken HS Feb 20—Norristown, PA—Norristown HS Feb 27—Lansdale, PA—North Penn HS Feb 27—Westminster, MD—Westminster HS Mar 6—Old Bridge, NJ—Old Bridge HS Mar 13—Bridgewater, NJ—Bridgewater-Raritan HS Mar 13—Stratford, CT—Bunnell HS Mar 20—Pompton Plains, NJ—Pequannock Township HS Mar 27—Norristown, PA—Methacton HS

Tradeshows Feb 18-20—East Brunswick, NJ—New Jersey MEA Mar 18-20—Boston, MA—Massachusetts MEA

South WGI Guard Feb 13—Antioch, TN—Nashville Regional Feb 13—Cantonment, FL—Pensacola Regional Feb 13—Raleigh, NC—Raleigh Regional Feb 20—Austin, TX—Austin Regional Feb 20—Tampa, FL—Tampa Regional Mar 6—Grand Prairie, TX—Dallas Regional Mar 6—Ft. Lauderdale, FL—Ft. Lauderdale Regional Mar 13-14—Fayetteville, GA—Atlanta Power Regional Mar 13—Powhatan, VA—Richmond Regional Mar 20-21—Houston, TX—Houston Power Regional Mar 20-21—Orlando, FL—Orlando Power Regional

WGI Percussion Feb 20—Powhatan, VA—Richmond Regional Feb 27—Orlando, FL—Orlando Regional Mar 6—Roebuck, SC—Spartanburg Regional Mar 13—Boca Raton, FL—Boca Raton Regional Mar 13—Cantonment, FL—Pensacola Regional Mar 13—Gilbert, AZ—Phoenix Regional Mar 20-21—Nashville, TN—Nashville Regional

HBCU Jan 30—Atlanta, GA—Honda Battle of the Bands

Tradeshows Jan 20-23—Tulsa, OK—Oklahoma MEA Jan 21-23—Tuscaloosa, AL—Alabama MEA Jan 28-30—Savannah, GA—Georgia MEA Feb 3-6—Louisville, KY—Kentucky MEA Feb 4-6—Charleston, SC—South Carolina MEA Feb 10-13—San Antonio, TX—Texas MEA Feb 25-27—Wichita, KS—Kansas MEA Mar 4-6—Charleston, WV—West Virginia MEA

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Music that inspires the country Service that protects it

Music Enlistment Option Program..There are few truly great career options; serving as a Marine Corps Musician is one of them. If you have what it takes to become both a Marine and a Marine musician, you will play at some of the worldâ&#x20AC;&#x2122;s most honored events. Precision, discipline, and honor will be represented in every note you play. And as a Marine, you will distinguish yourself from the rest. To schedule an audition, call 1 800 MARINES or visit MARINES.COM.

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Photo courtesy of the United States Navy Band.

For many musicians, finding steady employment is a challenge in itself—but the professionals in the United States military are well provided for and get to do what they love everyday while serving their country. Here are profiles of musicians from the United States Navy, Army, Air Force and Marine Corps.

About the Author Elizabeth Geli is an editorial assistant at Halftime Magazine. She has played flute and marched at Valencia High School in Placentia, Calif., and in the USC Trojan Marching Band, where she is now a graduate teaching assistant. She has a bachelor’s degree in print journalism from USC and is currently working on a Master’s in Specialized Journalism (The Arts).

By Elizabeth Geli

Marching for Life Name: Master Chief Musician Joe Brown, Jr. Group: United States Navy Band Job: Drum Major, former euphonium player Years: 25 in the Navy, 23 in the band Trivia: Stood next to Beyoncé backstage at the inaugural ball and was worried he would step on her dress.

fter his 50th and final field show as a euphonium player through high school and at Lousiana Tech University, Joe Brown, Jr. ceremoniously burned his marching shoes in the trash and swore he’d never march again. “I was considered to be the best marcher in the band there, but I had grown weary of marching in halftime shows,” Brown says. “Now look what I do for a living. I march every day of my life.” Now he’s known as Master Chief Musician Joe Brown—drum major of the United States Navy Band. After Brown completed his undergraduate degree in music education, he went to the University of Northern Colorado for a master’s in music and then began auditioning for military bands. “I had seen them in concert; I was a good musician, and I felt it would be an exciting career,” Brown says. “And it has turned out to be just that.”

Ceremonial Pride The majority of performances by the U.S. Navy Band are formal ceremonies along

with national tours. The band also plays to welcome foreign dignitaries who visit the United States. The arrival of dignitaries from the former Soviet Union’s breakaway republics is one of Brown’s most memorable experiences. “One at a time the newly formed governments would be welcomed and recognized as official entities,” Brown says. “I had never seen a line of grown men puff up like pigeons and cry tears and tears and tears like you wouldn’t believe. It was the pride that the music was able to bring to them—it was very poignant, and their faces were soaked at hearing their national anthem be formally recognized by the United States.”

Solemn Duty Brown’s most common task is running the smaller unit that plays for funerals at Arlington National Cemetery. Brown’s responsibility includes finding out the person’s religion and rank and deciding what songs to play. “One funeral I did, there was no coffin— just two urns—and they had two flags,” Brown says. “They folded them and gave them to two little girls. Their mother and father were both active duty service members and had both been killed. It was a challenge getting through that ceremony; the girls couldn’t have been more than 8 years old.”

Funerals are the Navy Band’s most solemn duty. “I think it’s very worthwhile to show not only the family the importance that we place on the service of their family member, but that we also show all Americans what we think of the soldiers’ service to the country,” Brown says. “It can be considered hard emotionally, but the ceremony itself is so dignified and poignant that you’re proud to do it.”

A Privilege and Honor Brown has performed in almost all 50 states. For him, the national tours are a chance to represent the Navy to people all over the country. “People don’t get to see the Navy doing its actual job,” Brown says. “But they can see what we do and the professional manner that we deport. They talk to us about how proud they are of the uniform and how great it is that their Navy is performing and doing such a great job.” Brown is extremely grateful for his career in the Navy Band. “Honestly I just think it’s an honor and a privilege for me to get to serve my country playing music and performing music: two things that are important to me,” Brown says. “I also get to perform alongside and lead some of the very best musicians in the country. It’s a privilege and an honor that I think is just tremendous.” January/February 2010 13

Leap of Faith Name: Staff Sergeant Jeff Prosperie (right) Group: The Hellcats, part of the United States Military Academy Band Job: Snare drum, percussion Years: 3 Trivia: Prosperie’s job is the oldest drumming job in the United States, established by George Washington during the Revolutionary War.

or Staff Sergeant Jeff Prosperie, joining the Army has allowed him to have it all: a job doing what he loves, great pay and benefits, and the freedom to be home before the kids get back from school. “I never thought the Army was for me, but for musicians it’s kind of hard to beat,” Prosperie says. “Honestly it seemed like an answer to a lot of prayers; it was a leap of faith.”

Drum Corps Days As a percussionist in the Hellcats, a small drum and bugle ensemble that is a part of the larger United States Military Academy Band, Prosperie makes more than he did at his previous jobs as the director of percussion studies at the University of Louisiana-Lafayette during the day and a symphony musician at night. “I was doing everything I thought I wanted to do,” Prosperie says. “But my priorities changed—I wanted to be with my family more, and I thought serving my country would be a good thing too.” But not just anyone can score this gig; Prosperie is one of the most well-known percussion soloists, educators and adjudicators in the country. He is the only person to ever win the “Triple Crown” of snare drum individual competition by taking home the gold at Drum Corps International (while with the Phantom Regiment), Drum Corps Associates and Percussive Arts Society. He now judges the competitions and serves as an on-field judge at DCI World Championships. “I turned 40 years old when I was at basic training surrounded by all these 17-, 18- and 19-year-olds,” Propserie says. “I drew on my strength from my drum corps days, and that helped me get through it. And then being in shape 14

and running around and maintaining my physical fitness in the Army keeps me in shape as a DCI judge ’cause I’m the guy that runs around the field trying not to get hit.”

Full Circle Through the Army he became an arranger and instructor for the U.S. Army AllAmerican Marching Band, a national honor band for high school seniors who perform at the All-American Bowl. “I’m excited about that because I can use my education background, my writing background and now my Army connection,” Prosperie says. “I think it’s pretty cool that it’s all coming together, and I can use that opportunity to teach these kids.”

On Duty Prosperie’s regular duties include playing for the cadets as they march in formation to breakfast and lunch, providing a beat for their drills in the afternoons, and participating in rehearsals for various concerts and other special events. He says that the regular inclusion of music in the cadets’ lives helps them to learn they are a part of something bigger.

“Hearing music is part of your fiber— I know that’s part of the inspiration to charge forward when a soldier is fighting and all the odds are against them,” Properie says. “Human beings go to music in a time of struggle.” The band also plays for funerals at West Point and performs for the community, including the soldiers’ families while they’re away. “For the community people whose husbands or wives are not here, it brings the joy of music to them and brings them a little cheer,” Prosperie says. “The funeral is really important. That’s the last memory that someone has of their soldier and family member.” According to Prosperie, his military training made his job as a musician even more meaningful. “I did things I never thought I would do: throw grenades, shoot an M-16, go through a gas chamber, camp in the woods,” Prosperie says. “I felt sad for the other people because for me it was a fun fantasy that I knew I wasn’t really going to be doing, but the other people in my platoon really need these skills to survive. It really helped me to understand the sacrifice when I play at a funeral, knowing what sacrifice they made.”

Honoring With Dignity Name: Chief Master Sergeant Ed Teleky Group: United States Air Force Band and Ceremonial Brass Job: Drum Major of the United States Air Force Band, Musical Director and Manager of the United States Ceremonial Brass, former percussionist Years: 23 Trivia: Teleky’s son Nicholas was featured as a little kid in the 1994 Santa Clara Vanguard Drum and Bugle Corps show at the beginning of finals.

erfection is the daily standard when you’re representing the United States military. “I would say having to deal with expectation that everything always has to be perfect, that’s probably been the biggest challenge,” says Chief Master Sergeant Ed Teleky, drum major of the United States Air Force Band and its smaller unit, the Ceremonial Brass. “If something goes wrong, it’s a big deal and it’s huge.”

Top Missions That’s because every mission done by Teleky and the band is, in fact, a big deal—from funerals at Arlington National Cemetery to arrivals for state leaders. “The challenge is to keep it all in perspective,” Teleky says. “Most of the missions that we do are live somewhere in the world on CNN. Especially when it’s a smaller country, the playing of the Air Force Band is a big headline for them.” Some of the band’s previous missions included the arrivals of the Queen of England and the Pope, NBC’s “Today Show” for the Fourth of July, inaugural parades, the opening ceremonies of the World Cup and the New York City tickertape parade for the end of the Gulf War. “It was kind of neat to do a parade for Desert Storm because the people of New York were unbelievably supportive, and they made the parade about the troops,” Teleky says. “It was one of the most emotional missions I’ve done.” Of the approximately 200 missions Teleky does with the Ceremonial Brass each year, 150 are funerals. “It’s really

amazing the power of music and what it adds to these ceremonies,” Teleky says. “It’s amazing to see firsthand how you’re touching people’s lives in their time of need.”

ence that I’ve had marching has made me really unique and helped me in the military. It’s made the discipline all very, very easy.”

Corps Connection

Coordinating Troops

Teleky received both his bachelor’s and master’s degrees from The Juilliard School where Col. Arnald Gabriel, conductor emeritus of the Air Force Band at the time, encouraged Teleky to audition. After finishing his master’s, Teleky immediately went into the Air Force. “It was an extensive audition process for the ceremonial group,” Teleky says. “There were three different percussion auditions: rudimental, orchestral, and drum set. Forty-nine people auditioned.” While in high school, Teleky marched in the Garfield Cadets and later worked as a percussion instructor for the Bayonne Bridgemen and Santa Clara Vanguard. He also worked as an arranger and music director for the San Francisco Renegades from 2002 to 2006. Currently, Teleky arranges music for high school marching bands. “[My drum corps experience] has been key for me,” Teleky says. “The experi-

Due to his background in conducting at school and with various high school all-state groups, Teleky rose through the ranks from percussionist to assistant drum major and finally head drum major. “In addition to just rehearsing the group and making sure we’re ready, there’s a lot of coordination involved with the White House Communications Office,” Teleky says. “I’ve got do site surveys at places before we play to determine where we’re going to stand and the size of the group.” According to Teleky, the members of the band have a special bond working together under any challenging conditions. “In the Air Force, we call it ‘honoring with dignity,’” Teleky says. “We’re out there marching to the ceremony even if it’s pouring rain; we’re there to provide honors. There’s a tremendous feeling of respect for what we do day in and day out.” January/February 2010 15

Tip of the Spear Name: Chief Warrant Officer-4 Brian Dix Group: “The Commandant’s Own,” the United States Marine Drum & Bugle Corps Job: Director, former contra-bass bugler Years: 26 years in the Marines and 23 years in the United States Marine Drum & Bugle Corps Trivia: His most inspiring moment with the United States Marine Drum and Bugle Corps was the first time he played overseas in the 1986 Sydney Royal Easter Show in Sydney, Australia.

hief Warrant Officer-4 Brian Dix has a family of 200,000—and they’re all Marines. As director of “The Commandant’s Own,” the United States Marine Drum & Bugle Corps, he is part of a brotherhood unrivaled in his lifetime. “It’s very concerning, it’s very warm, it’s very much like a family,” Dix says. “I know there will never be any ties in our lives this strong except here in the Commandant’s Own. I think it’s better than a family because the Marines have a true genuine concern of the welfare of every Marine that’s around them.” Dix believes this concern comes from the need for Marines to be highly invested in their performances. “If a Marine is having problems off-duty, our philosophy is to take care of that Marine at all times because it makes the job so much more enjoyable,” Dix says. “We must be emotionally involved in our daily duties and performance. If the Marine is emotionally involved, the audience will get emotionally involved.”

Highest Standard Members of the Commandant’s Own train every day to uphold all Marine Corps training standards—from physical conditioning to rehearsals to required readings or a trip to the rifle range. “Six of my Marines have served overseas in some combat capacity,” Dix says. “I’m very proud of what they’ve accomplished and even more proud of them that they’ve all come home safely.” Some of the Marines stay in the corps for 20 years and retire, while others just do 16

one or two four-year tours of duty before moving into another field within or outside of the military. “I consider the Marines that come here the tip of the spear,” Dix says. “If they want to go into another field, they’re going to be the best because we train them the best here. We have former Marines that are doctors, lawyers and public officials. Some become officers and do lateral moves into other fields such as aeronautics, engineering and intelligence.”

Music in Motion The corps’ main show is the “Music in Motion” program, an approximately 25-minute field show that is performed at various events across the country and world. Occasionally they combine with the Marine Corps Silent Drill Platoon and Marine Corps Color Guard to do an hour-long show or do stand-up concerts with additional repertoire. When the groups combine, the larger group is called the United States Marine Corps Battle Color Detachment. “We never sit,” Dix says. “Each show is a mission to us.”

Flexing Their Musical Muscle When Dix became director, he made it his mission to expand the corps’ range by incorporating more musical styles. “Fortunately we’re allowed to flex that Marine Corps muscle a little bit; we’re very diverse in regards to styles of music,” Dix says. “We’ve taken on a philosophy over the past couple years to perform things that no one else has orchestrated for the marching military or other ensembles. We’re very lucky that we’ve been granted licensing for obscure works that no one else has performed.” Although the corps and its smaller bugler unit performs for various arrivals, change-of-command ceremonies, funerals and parades, Dix says that performing for an unassuming audience is the most exciting for his group. “We’re here for the average citizen to project a presence of the Marine Corps,” Dix says. “[The corps members] know how great it is to play for a president or prime minister, but they will remember an audience that they won over and who got emotionally involved with what we were doing on the field.”

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The Tournament of Roses annual parade, now in its 121st year, is a tradition that helps billions of people around the world ring in the New Year. This year’s theme, “A Cut Above the Rest,” celebrates everyday heroes. Enjoy our 3rd annual photo spread.

Co-director Carol Agler is confident that the performance would inspire. “It will open a lot of eyes,” she says. “It will open the eyes of other blind students and their parents as to what is possible for their children, and it will open the eyes of other band directors to show that this is very doable.” The marching band program began in 2005 to complement the Ohio School for the Deaf’s revived football team. The band became a staple, regularly marching halftime shows. Each student has a sighted volunteer to help prevent collisions. The road to Pasadena challenged the students. One night in December, the band spent 90 minutes marching around the school’s parking lots while working on a 105-degree parade turn. Heavy drums and joint issues did not stop the students, Agler says. The band performed John Phillip Sousa’s “Military Escort” and Stevie Wonder’s “Superstition,” a piece that seemed highly appropriate for a parade that was themed, “A Cut above the Rest,” and featuring a blind marching band, Agler says.

THE Parade

The Ohio State School for the Blind Marching Band made history while marching in the Tournament of Roses. Not only were they the smallest band ever selected to play, but they were also the first blind marching band to participate in the 5-1/2-mile parade.

Helping Others SEE

New Year’s Celebration: Hailing from all around the world, 22 honored marching groups participated in this year’s Rose Parade. These included (pictured clockwise from far left) the Banda Musical Latina Pedro Molina from Coatepeque, Quetzaltenango, Guatemala; Danvers (Mass.) High School Falcon Marching Band; The Ohio State School for the Blind Marching Band from Columbus, Ohio; Pickerington (Ohio) Central Marching Tiger Band; and the Soddy Daisy (Tenn.) Marching Trojans. View pictures of all the bands on our website, www.halftimemag.com.

Go Bucks: The Ohio State University Marching Band from Columbus, Ohio, led by Dr. Jon R. Woods, entertained the audience with its classic pre-game show including its famous double “Script Ohio.” For halftime, the band performed a “Motown Sound” medley, including “Uptight,” “Heard It Through the Grapevine” and “I’ll Be There.”

The 96th Rose Bowl Game presented by Citi proved to be a great match-up between No. 8 Ohio State University (OSU) and No. 7 Oregon University. The OSU football team won 26 to 17 while both bands gave great performances.

Go Ducks: Led by Dr. Eric Wiltshire, the Oregon Marching Band from Eugene, Ore., performed “Back to the Future” for its halftime show. The band wears all-Nike apparel, a tradition that dates back to 2003 when Nike designed custom-made uniforms for the group to coordinate with the football team and cheerleaders.

January/February 2010 21

Show’s On

Chart It Out Due to the fact that the bowl games happen during the universities’ winter breaks, some bands must face the reality of holes in the drill even if they emphasize the importance of attending the game and make it contingent with the final semester grade. In previous years the Boise State University band faced the dilemma of whether it would make the bowl trip and, if so, how many members it could take. The concerns arose not because students could not attend but because of

cost. However, this year almost the entire Keith Stein Blue Thunder Marching Band attended the Fiesta Bowl. Only a few sets had to be adjusted because two or three students were unable to make the trip. Both the Universities of Alabama and Texas carry alternates throughout the

By Robert Gagnon

For some bands, planning ahead proved beneficial to the entire process. “We’ve been very lucky in recent years that our team has been successful enough to consistently be invited to bowl games,” says Dr. Eric Wiltshire, assistant director of bands at the University of Oregon. From the beginning of the year, the Oregon Marching Band designed and designated one of its shows to fit a bowl appearance; this year’s “Back to the Future” show showcased the type of music and marching style that the band enjoys and that would be immediately recognizable to the fans. The show took longer to write, but when it came down to making the necessary adjustments for the bowl’s time restrictions, it was as simple as telling the students to skip a couple pages in the drill charts. At the University of Iowa, Director Kevin Kastens allows the members to pick their favorite opener and closer

from the season to be performed at the final game. The highlights show would typically be adapted for any bowl appearance; however; this year proved a little different. The Orange Bowl only allows five minutes to perform at pregame and gives no opportunity to perform a halftime show. Therefore, the Hawkeye Marching Band had to stray from the intended halftime show and perform an abbreviated pregame show with their traditional “high-stepping” run-on and the school’s three fight songs. A tradition of The Ohio State University Marching Band has been to allow the students to vote on the show to be used at the bowl games. “This is a reward for them, for such a long and hard season,” says Dr. Jon Woods, director. The Rose Bowl allows eight minutes to perform; therefore, no major changes were made to fit within the time constraints.

Photo courtesy of the Boise State University Marching Band.

rom as far north as Eugene, Ore., to the Deep South of Gainesville, Fla., and everywhere in between, bands were busy getting ready for this year’s Bowl Championship Series football games. Each band faced the task of preparing for the trip they anticipated all season long, including picking which show to perform, making travel arrangements, and juggling onsite logistics such as finding rehearsal time and space as well as giving the students time to relax.

The Lineup Citi BCS National Championship Game: University of Texas and University of Alabama

Tostitos Fiesta Bowl: Boise State University and Texas Christian University University of Florida and University of Cincinnati

FedEx Orange Bowl:

University of Iowa and Georgia Institute of Technology

Rose Bowl Presented by Citi: University of Oregon and Ohio State University

Although every band has its own traditions and ways of preparing for the BCS bowl games, each director must balance responsibilities of getting the band performances ready and making sure students arrive and get home safely while having fun on the way.

Allstate Sugar Bowl:

season. They perform everywhere the band performs with the exception of the on-field pre-game or halftime performances. These alternates are able to fill a hole at the drop of a hat. “Having alternates in the ensemble turns the heat up on the students currently in the performance block, so they do not become complacent,” explains Dr. Robert Carnochan, director of the Longhorn Band in Austin, Texas. Finding time to rehearse prior to the trip is also a big challenge for most of the bands, especially considering not all of the students live near the universities. Boise State actually used part of their finals time to start getting ready for the bowl game. The university also made arrangements to fly in their students who live out of state to rehearse prior to making the trip to Arizona. Iowa was hit with a blizzard, so classes—as well as the band’s only rehearsal scheduled prior to leaving for the bowl game—had to be cancelled.

By Air or by Bus Moving a large number of students across the country is a struggle in its own right, not to mention adding on the extra burden of the holiday season. However, many of the school’s athletic departments take on the transportation to the bowl games rather than leaving it up to the band directors. The University of Oregon chartered a flight, “which given the time of the year, was really the only way possible to fly 200+ people in and out of Los Angeles,” Wiltshire says. The band also flew 24

a group of students into Los Angeles a day early as well as out a day later to deal with equipment. The athletic department of Boise State made a compromise with the band. To save money on flights, the band took buses to Arizona but got to spend a night in Las Vegas. All band members also received tickets to see Cirque du Soleil. “This made taking buses worthwhile for the entire band, giving us a great experience before even getting to the bowl game,” says Nathan Stark, interim director. All of the major bowl games contract hotels for the teams as well as the bands in the host cities, taking some of the responsibility off of the directors and leaving them time to work on arranging other things such as rehearsal space. Ohio State rehearsed at Glendale Community College, which the Penn State University band used the previous year. The University of Florida Gator Marching Band rehearsed every day on the trip, which made finding a good rehearsal space a must. Director John “Jay” Watkins, Jr., took care of this after the bowl selections were made and prior to the band traveling.

Working the Itinerary Leading up to the bowl games, the bands are asked to perform at countless performances—from parades and pep rallies to alumni events, some of which are required and others are not. Watkins planned the schedule starting with the required appearances, then plugging in time for rehearsals and additional requests, and finally looking at what free time there was to enjoy the host city. He says that he “always gets the input of student leaders when preparing the final itinerary, so they are invested in helping to plan the event to be fun for all.” Providing adequate time for the bands to find food when eating on their own is also a concern. Wiltshire of the University of Oregon estimates it takes about 90 to 120 minutes for the band to eat on its own, stating “the band marches on its stomach.” Keeping that in mind when setting up the itinerary for the trip, he sets a structure similar to that of Watkins. “People get so excited about the game that they forget how many requests we get for appearances, and I have to say no to some events due to time constraints in the schedule,” Wiltshire says. The structure for the University of Cincinnati Bearcat Band was similar to that of Florida and Oregon. “Planning for these trips really is not a vacation; it’s a lot of work getting the kids ready,” says Dr. Terren Frenz, director of the Bearcat Band. However, it is always “a real thrill to go into the top bowls and actually get our band on national television,” he adds. While it takes a lot of planning for these events, the bands feel very fortunate to participate. According to Debra Wills, a drum major for Alabama’s Million Dollar Band, “A lot of the time it works out, but sometimes it does not; we kind of just go with the flow and do our best to stick with the schedule.”

About the Author Robert Gagnon is currently attending Santiago Canyon College in Orange, Calif., working for a transfer to Cal State Fullerton to earn his bachelor’s degree. He was the editor-in-chief of “The Legacy” yearbook at Orange (Calif.) High School. Robert has performed on a multitude of instruments including trumpet, clarinet and timpani with organizations such as the Pacific Crest Drum and Bugle Corps and the Riverside Community College.

D R U M

1. Allentown, PA • 6/18 2. Chesapeake, VA • 6/19 3. Columbia, SC • 6/20 4. Pleasant Hill, CA • 6/20 5. Charleston, WV • 6/21 6. Louisville, KY • 6/22 7. Rio Rancho, NM • 6/22 8. Glendale, AZ • 6/23 9. Toledo, OH • 6/24 10. Normal, IL • 6/25 11. Clovis, CA • 6/25 12. Madison, WI • 6/26 13. Stanford, CA • 6/26 14. Washington, DC • 6/26 15. Stockton, CA • 6/27 16. Stillwater, MN • 6/27 17. Santa Barbara, CA • 6/27 18. Mankato, MN • 6/28 19. Dublin, OH • 6/28 20. Vicksburg, MI • 6/29 21. Philadelphia, PA • 6/29 22. Dubuque, IA • 6/30 23. Ft. Edward/ Glens Falls, NY • 6/30 24. Medford, OR • 6/30 25. Oswego, IL • 7/1 26. Bristol, RI • 7/2 27. Cedarburg, WI • 7/2 28. San Diego, CA • 7/2 29. Eugene, OR • 7/2 30. Walnut, CA • 7/3 31. Michigan City, IN • 7/3 32. Beverly, MA • 7/3 33. Hillsboro, OR • 7/3 34. Pasadena, CA • 7/4 35. Riverside, CA • 7/5 36. Tri Cities, WA • 7/5

C O R P S

37. Bridgeport, CT • 7/5 38. Ontario, OR • 7/6 39. Jackson, NJ • 7/6 40. Metamora, IL • 7/6 41. Columbus, OH • 7/7 42. Ogden, UT • 7/7 43. Pittsburgh, PA • 7/8 44. Windsor, CO • 7/9 45. Akron, OH • 7/9 46. Kalamazoo, MI • 7/10 47. Denver, CO • 7/10 48. San Jose, CA • 7/10 49. Brockton, MA • 7/10 50. Naperville, IL • 7/11 51. Dublin, CA • 7/11 52. Fairfield, OH • 7/12 53. Hutchinson, KS • 7/13 54. TBA Northern, IN • 7/13 55. Woodstock, IL • 7/14 56. Omaha, NE • 7/14 57. Sioux Falls, SD • 7/15 58. Moreno Valley, CA • 7/16 59. La Crosse, WI • 7/16 60. Groton, CT • 7/17 61. Long Beach, CA • 7/17 62. Minneapolis, MN • 7/17 63. Tempe, AZ • 7/18 64. Rockford, IL • 7/18 65. West Des Moines, IA • 7/18 66. Manchester, NH • 7/18

I N T E R N A T I O N A L

67. Wichita, KS • 7/19 68. Kansas City, MO • 7/19 69. El Paso, TX • 7/19 70. Edmond, OK • 7/20 71. Midland, TX • 7/20 72. Van Buren, AR • 7/20 73. Broken Arrow, OK • 7/21 74. Dallas, TX • 7/22 75. Houston, TX • 7/22 76. Houston, TX • 7/23 77. Dallas, TX • 7/23 78. San Antonio, TX • 7/24 79. TBA Eastern, PA • 7/24 80. Lafayette, LA • 7/26 81. Denton, TX • 7/26 82. Ocean Springs, MS • 7/27 83. TBA, LA • 7/27 84. Hattiesburg, MS • 7/28 85. Gadsden, AL • 7/29 86. TBA, KY • 7/29 87. Milton, FL • 7/29 88. Murfreesboro, TN • 7/30

89. Atlanta, GA • 7/31 90. DeKalb, IL • 7/31 91. Rock Hill, SC • 8/1 92. Paw Paw, MI • 8/1 93. Centerville, OH • 8/2 94. Sevierville, TN • 8/2 95. Cedar Rapids, IA • 8/2 96. Salem, VA • 8/3 97. Massillon, OH • 8/3 98. Erie, PA • 8/3 99. Erie, PA • 8/4 100. TBA Northern, VA • 8/4 101. Eau Claire, WI • 8/4 102. South Lyon, MI • 8/5 103. Rome, NY • 8/5 104. East Rutherford, NJ • 8/5 105. Allentown, PA • 8/6 106. Lawrence, MA • 8/6 107. Greendale, WI • 8/6 108. Belding, MI • 8/7 109. Allentown, PA • 8/7 110. West Chester, PA • 8/8 111. Dubuque, IA • 8/8 112. Buffalo, NY • 8/8 113. Dayton, OH • 8/8 114. Toledo, OH • 8/9

For tickets & additional info, visit: www.DCI.org

The 2010 Drum Corps International Tour

P R E S E N T S

Michigan City, IN

Open Class Quarterfinals • 8/10

Indianapolis, IN

World Class Quarterfinals • 8/12 Open Class Semifinals • 8/13 World Class Semifinals • 8/13 Open Class Finals • 8/14 World Class Finals • 8/14 DCI Premier Events are highlighted in red. Events and dates subject to change.

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Dr. Arthur C. Bartner, director of the University of Southern California Trojan Marching Band looks back on his 40 years—building a career, a family and a legacy.

he last time the University of Southern California (USC) hired a marching band director, Richard Nixon was president and The Beatles had just announced they were disbanding. Now celebrating his 40th year as director of “The Spirit of Troy,” the University of Southern California Trojan Marching Band (TMB), Dr. Arthur C. Bartner is the second-longest tenured college band director, after Wisconsin’s Michael Leckrone. In his time at USC, the TMB has recorded two platinum albums, performed in 17 countries, been invited to four Super Bowls, several Grammy’s and Academy Awards programs … and even played for the Pope. Born in New Jersey, Bartner received his bachelor’s and master’s as well as his Ed.D. in Music Education from the University of Michigan where he played trumpet for four years in the Michigan Marching Band. Halftime Magazine caught up with Bartner to discuss his storied career, his inspirations, his philosophies and the thing closest to his heart—his beloved band.

By Alex Isao Herbach

Halftime: How did you become USC’s director? Bartner: USC had played Michigan in the Rose Bowl the January before I was hired. And the Michigan band was absolutely splendid. And the USC band was absolutely dreadful. USC won the football game, but the differences between the bands were like the differences between night and day. And so they were looking for a replacement. After about four guys turned down the job, local guys, they went back to Michigan, and they looked for a Michigan guy. I was that guy. Halftime: What were you doing before USC? Bartner: I taught high school for seven years. I was working on my doctorate. So I was ripe, I was going to go somewhere. So I ended up here. It was a great job. The band was awful, but it was a great job. Halftime: So your work was cut out for you then.

Bartner: Play for the Pope. He was behind a glass mobile or something, but we were there. Yeah. And we’ve played for six presidents, and we gave President Reagan a helmet. You know? Who can say that? And that’s why these kids, I think, they come back because they genuinely like each other. Halftime: You said that one of the things that you’re proud of is your relationship to the football team. Now, this year has been kind of a trying time for the football team. How much of a band’s success hinges on the team’s success? Bartner: Our mantra is: It shouldn’t matter to us whether we’re winning by 30 points or losing by 30 points. We play the same tunes; we should have the same amount of energy, the same amount of support, cheer, volume. Now, that might be tough when you’re losing by 30 points to Stanford, and your crowd has basically given up. They’ve all left. But the band is still there, and they’re still playing the tunes. They’re still our students out there, suiting up, trying to make a tackle. And that’s been my philosophy, dating back to [former USC football coach] Marv Goux in the early 70’s, and I think the band’s done a very, very good job of supporting this team all the way to the end when there was no chance. Halftime: Football coaches often talk about turning boys into men. Do you have a similar relationship to your students? Bartner: Absolutely. That’s the big picture. And the big picture is that these are life lessons. We don’t teach calculus and languages. Those are academic lessons. What we teach are life lessons. And life lessons [are] that you have to be held responsible. You have to be held accountable. And if you break a rule, you have to pay the consequence. You don’t act accordingly, you don’t try hard, you don’t memorize your music, you cut practice, you have to pay the consequences. Hopefully they leave this program, and they’re better for it. And that’s, you know, that’s the big picture. That’s why you go to college. You go to college to grow. Halftime: After 40 years, how do you keep things fresh? How do you stay motivated? Bartner: If you believe these songs cannot arouse our football team, our student body, our alumni, well then I shouldn’t be here. And we play “Tribute to Troy” 50, 75 times a game. … It’s almost a spiritual thing. And it’s got to be played the same way every time or else. And that’s why people get so upset. People meaning, “the opposition.”

And we sing “Fight On” after every win, we sing it every time we score a touchdown, we sing it at the end before we dismiss. See, this is the stuff that makes USC special. We got these three tunes, and we believe in these tunes. We believe in being a Trojan. This is a way of life. And “Conquest,” to us, is an anthem. This is an anthem! It’s like “The Star Spangled Banner.” At the end of the Rose Bowl, the team comes over, you got the © 2010. Brett Padelford. All rights reserved.

How do you start rebuilding a marching program? Bartner: You rebuild it through the students. You rebuild it inside out. And it has to become their band; they have to have ownership. It wasn’t that way. Basically, the band I had inherited was pretty much music majors who needed the band for their scholarships, so they’re out there for all the wrong reasons. There was no pride; there was no sense of tradition; there was no sense of empowerment. So basically you have to clean the house, get control of the scholarships, so that you don’t have to depend on the music majors. And then you have to get a group of guys who really want to see something happen, who want to see a great band and develop it. Halftime: People buy into this band as a family. You have players coming back years after they graduate to perform. Is that part of the band’s success? Bartner: There are certain ways, in my opinion, to judge, to evaluate, a successful band program. And one of them is the return rate. For a private university, we have a tremendous retention rate. Kids come back because they love the experience. They love the camaraderie; they love the bonding, the friendships, the trips, all of those things. And I think the great bands—the Ohio States, the Michigans—they have this mystique; they have this personality that makes them special. And also, how the band is perceived on campus by the student body, by the alumni, by the faculty. This band is, in a lot of ways, the face of this university, the window of this university. Now granted, it’s pretty hard to top the football team. But still the band, with all the visibility, all the shows that they’re on, I think this becomes a real source of pride for the university. Halftime: A pride that wasn’t there before you arrived? Bartner: Oh yeah, nobody called this band, wasn’t very good … After 40 years it’s just gotten better and better. [But what matters] is that each college has a great band that represents the traditions of that college. And I think USC is a very, very special place. Being in Los Angeles and our relationship with our football team are very unique. The fact that we can do “Dancing with the Stars,” we can have George Lopez [guest conduct], play on “The Jay Leno Show” … Halftime: And play for the Pope.

student body there, the alumni are around who decided not to beat the traffic, and everybody’s got their fingers up and they’re singing, and they all do that horn call. That’s great stuff. And the great bands, the great universities, the ones with the great traditions, they have that. Halftime: So is that what you consider to be the highlight of your career? Bartner: That’s the best moment. You know why? Because for that minute and 45 seconds, you have the epitome of the Trojan family. Everyone talks about the Trojan family. But you experience it at January/February 2010 29

me. It’s about those [kids]. Those are the Bartner: Oh yeah. I made that career that moment. Everybody’s celebrating guys that are out there 12, 15 hours a choice after the 1984 Olympics. this moment. You live for moments, those week. I get paid to be out there. These Halftime: You’re referring to conductmoments. And nobody’s thinking about guys don’t get paid. They might get a ing the Olympic All-American College tomorrow, nobody’s thinking about yescouple of bucks here and there, stipends. Marching Band? terday, all they’re thinking about is that But there’s no band full ride. And I genuBartner: That was probably the pinnacle moment. To me, that’s what it’s all about. inely think the Trojan family is appreciaof my career. I was probably, at that Halftime: You were talking about the tive of the effort these kids put in, day in moment, the top band director in the band’s character earlier. What do you and day out. But I like it. And I have a country. I’m not saying I was the best. But think of its reputation off-campus, how great sell. I’ve got a great product. People I had this opportunity. And I had offers. other bands perceive it? like this product. So for me it’s just conBut you know, I made the decision back Bartner: Everyone has to do their own necting the dots. It’s fun. in ’84, this is my job. This is my life. And thing. Now, and this goes back to Marv Halftime: What’s one thing you would tell if I was going to leave, that was going to Goux, who didn’t teach me to do this an aspiring band director? be my moment. But I decided to stay and [starts mock conducting]. He didn’t teach Bartner: You look for those [memorable] have been happy ever since. me the musical elements. [He] taught me moments. Those moments are how you Halftime: One of the things I’m sure will this thing about being a Trojan. And he define a program. It has nothing to do be missed when you do retire is your taught me about running this band like a with comparing bands. Are you getting fundraising. What are some of the things football team. those moments? And the more of those you’ve learned on the fundraising trail? This is a very athletic band. So there is moments you have, the more it makes it Bartner: I think people sense how sincere I this kind of jock approach. Now my job worthwhile. am about this program. And it’s not about is to keep the identity of this band. But also to keep it under control. You don’t want this band to overstep its boundarAbout the Author ies. You don’t want this band to embarrass the university. But this is an aggresAlex Isao Herbach is a freelance writer living in Los Angeles. sive band. This band does have an edge. He graduated from the University of Southern California with a This band doesn’t like to lose. degree in1 journalism an unofficial in sports trivia. His 1890WGI_HalftimeMag_halfpgAdTOSS_113009.qxd:Layout 12/1/09 and 9:34 AM Page degree 1 Halftime: You’ve been quoted that you’d short-lived oboe career ended the day he realized the instrument end your career here. Is that still true? could never play funk music.

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Behind the Baton By David Saad

Photo by Tom McGrath

Going to a bowl game is the culmination of a season of hard work for both the football team and band. It’s also the memory of a lifetime.

didn’t know what it would be like, being drum major for a Big Ten marching band. Would it be exciting? I was certain the answer to that would be yes. Northwestern football, with the team nicknamed the “Cardiac ’Cats” due to last-second wins or losses, always is by definition. Would it mean extra work? I had never been drum major before but had always imagined that it involved many hours of preparation outside of rehearsal time. Would it be worth it? As it came to a close at the Outback Bowl on Jan. 1, 2010, the answer was an unequivocal yes. 32

Hail to Thee There is a sense of immense pride associated with being drum major of the Northwestern University Marching Band (NUMB). The most incredible part of the experience is that I stand in front, leading a group of the most spirited and energetic kids on campus with a unified purpose, playing our hearts out and leaving everything out on the field (except our plumes). As per tradition, the band performs Northwestern University’s “Alma Mater.” In the middle of the song, NUMB sings a cappella. Usually it is difficult to hear

due to the level of crowd noise. However, at the Alamo Bowl in 2008, when the instruments came down, the only sound that could be heard was, “Hail to thee Northwestern,” sung in unison by 25,000 voices. The spirit, energy and love that I feel for Northwestern was, at that moment, shared by every single person in that stadium. It was the most incredible sense of overwhelming pride I have ever felt.

Defining Moments The bowl experience is defining. It is the culmination of the hours of practice a week, the time spent outside of rehearsals talking about nothing but football and

music. It was a reward for the sheer amount of purple one wore and showed off every Friday and Saturday and the “Pride and Guts” our players demonstrated every game day against seemingly insurmountable adversity; it was an entire season leading up to one event. While the game itself is the main focus, it was not the only thing contributing to the epic nature of the Outback Bowl, held in Tampa, Fla. Every event provides unique challenges for a drum major, and a bowl game is no different, whether it was driving straight from the airport to Busch Gardens for a small concert or performing on New Year’s Eve on the white sands of Clearwater Beach. However, you can never plan for everything. There will always be something that surprises you. And those sometimes tiny and unexpected details are the things that you will remember when you tell your story. At Beach Day, which was an all-day pep rally, our band director—Daniel J. Farris—announced that we should all take off our shoes because the sand was so nice. That, I can assure you, aided

in NUMB giving one of the best performances I’ve ever been a part of.

Pride and Guts The greatest thing about Northwestern football is that nothing can be expected. As members of NUMB and especially as drum majors, we were at the forefront of this experience, leading any who would follow headfirst into the fray. During the tough times, the responsibility was ours to remind everyone that whatever time was left on the clock was always “a long time in the Big Ten” and that a comeback was just on the other side of the goal line. Down 35-21 in the final quarter of the Outback Bowl, the ’Cats were seemingly finished. However, thanks to some incredible plays, we were tied at 35 when the clock hit zero. We were never going to be handed any of our games—the Outback Bowl included—this season. There is always the need to prove oneself to the rest of the world. I have tried to apply this same mentality to everything I do. This ideology does not always produce the desired result. The overtime loss in

the 2010 Outback Bowl, while devastating, could not diminish the sense of pride we held in knowing that we did everything possible for ourselves, our team and our university. These kinds of experiences are what give rise to the “I remember whens” and the “Back in my days” of our elders. I can safely say that I will have my own stories with which to regale my family when I leave Northwestern. Take charge and experience everything possible. Take chances and roll with the punches. These are the experiences worth having, and these are the times that we will remember for the rest of our lives.

About the Author David Saad, a senior at Northwestern University, is majoring in percussion performance. This is his second year serving as drum major in the Northwestern University “Wildcat” Marching Band, preceded by two years playing the snare drum. He has been playing percussion since 6th grade and is a member of Phi Mu Alpha Sinfonia.

Fitness to the MAx

By Haley Greenwald-Gonella

Winter Warm-ups Indoor performance places different demands on the body. Decrease strains on joints and muscles with specific warm-ups and stretches.

ootball season is over, and that means it’s time for winter guard and percussion. Winter guard places different demands on the body due to performing in a gym with choreography unlike what is encountered during marching season. Here are some ways to keep your body in top performance.

Hip Warm-Up After dancing since the age of 3, Haley Greenwald-Gonella thought it was time to try a new art. In elementary school, she began playing the flute and was in the marching band in middle school and for the first two years of high school. She also played the bassoon during concert season. Dance drew Haley back while in high school. She graduated from the University of California, Irvine, with degrees in dance and English. She is now attending the University of Southern California and is getting her master’s degree in Specialized Journalism (The Arts). Haley is also a certified registered yoga teacher with Yoga Alliance. She draws upon her dance and yoga training when it comes to all things fitness and the arts.

Sitting in a bus on the way to a competition compresses the hip flexor. To open the hips, take a wide stance; your feet should be about two to three feet apart. Press the outer edges of your feet into the ground—if this is difficult, place a rolled towel or sweatshirt underneath your heels. If this is not an option, lift the heels and press into the toes. Squat down. Your bottom should be between your feet. Place your hands together and press the outsides of your elbows into the insides of your knees. Lengthen your spine. As you inhale, lift the crown of your head toward the ceiling. As you exhale, lower your hips closer to the ground. Take at least five breaths in this position.

Shock Absorbers Due to the fact that competitions take place in a gym, your knees end up absorbing a lot of shock when coming down from a jump. Make sure to bend your knees to a greater degree before and after you jump—your choreography should already take this into account. However, even with bent knees, the calves and hamstring muscles will absorb some of the shock from jumping and running around a gym. Thus warming up the knees, calves and hamstrings are critical during winter guard.

Start seated with your legs straight out in front of you. If you feel tension in your lower back, bend your knees slightly. Place your palms firmly into the ground right at the sides of your hips, not behind you. Lengthen your spine. Take three long breaths. Use a towel, yoga strap or theraband; hold the ends and loop the middle of your strap outside your feet. Pull slightly back on the strap. Flex your feet a lot. You should feel a stretch in your calves. Take at least three breaths. Take your right foot inside your left thigh and flex both feet. Inhale with your arms up by your ears, shoulders down. Slightly twist to the left. Lower forward. If this position is difficult, place your hands on the sides of your left knee, lengthen your spine at a diagonal and take five long breaths. Repeat on the other side. Standing up with your feet hip distance apart, toes pointed forward, exhale and bend your knees over your toes. Press strongly into your heels. Straighten your knees as you inhale. Do this several times, at least 10 reps.

Cool Down After performing, take a few minutes to cool down. Sit close to a wall. Lie on your side and scoot your bottom against the wall. Release your legs straight up the wall as you lie on your back. Bend your knees if you feel any tightness in your lower back. Take your hands to your stomach and breathe deeply. If your calves feel tight, fill a paper cup with water and freeze. Once the water is frozen, peel the top part of the cup away from the ice. Rub ice into the back of your calves. This massage will release any knots or tightness.

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MARCHING BAND CHAMPIONSHIPS

By Matt Jones

BCS Bowl Songs? 1

25 30

35 40

42 46

50 53

54 58

Across 1. Gets to the top of the tree? 7. Baby’s bed 11. “Don’t tase me, ___!” (2007 catchphrase from a viral video) 14. Get in formation, perhaps (2 words) 15. Sit for a portrait 16. It expands out when breathing from the lungs 17. 1988 R.E.M song for the Bowl Series? (2 words) 19. Poem full of praise 20. Skip the bronzer 21. “Well, ___-di-dah!” 22. “Where did they go?” response, perhaps (2 words) 24. Aired on TV a second time 26. Like 2, 4, 6 and 8 27. Mountain range through Chile 30. Czech play where the word “robot” came from

23 26

21 24

32. Map within a map 35. Saxophone mouthpiece part 36. Money, slangily 38. Game with a “Skip” card 39. Apr. 15 nemesis 40. Boxing stats (abbrev.) 41. Berlin’s country (abbrev.) 42. “I’ll ___ you my pretty ... and your little dog too!” 43. Drink suffix after Gator or Power 44. ___ pentameter (metric form of poetry) 46. The Dalai ___ 47. Sung line to a song 49. Where a trombonist’s muscles are worked out 50. Actress Streep of “It’s Complicated” 51. Type of torch at a Hawaiian party 53. Spine-tingling 55. Sentence-ending dots 58. “That’s neither here ___ there”

59. ___ loss for words (2 words) 62. Panic at the Disco genre 63. 2001 R. Kelly/Jay-Z song for the Bowl Series? (2 words) 66. Morning times (abbrev.) 67. Weather conditions that make it tough to see while you’re marching 68. “___ Tender” (Elvis song) (2 words) 69. Bread for a reuben 70. Marsh of “South Park” 71. Philadelphia university whose dragon mascot is Mario the Magnificent

Down 1. Form a scab 2. Italian currency, before it changed to the euro 3. ___ instant (2 words) 4. “Mad ___” (AMC series) 5. Corps horns 6. Long, pointy weapon that’s thrown 7. First aid skill that may require certification 8. Disastrous defeat 9. “___ Really Going Out with Him?” (Joe Jackson single) (2 words) 10. The way you act 11. 1971 Rolling Stones song for the Bowl Series? (2 words) 12. “Right Round” rapper Flo ___ 13. Follow the rules 18. Magnetic appeal that bands can show off 23. Perfect score 24. Cardinal ___ and white (University of Arkansas’s school colors) 25. “The Sound of Music” extra 27. Sans serif font packaged with Windows 28. Like band geeks, stereotypically (but not in real life!) 29. 1999 Sting song for the Bowl Series? (2 words) 31. Numbered Marine Corps division 33. Opposing forces 34. Result after tallying up scores 36. ___ good deed (2 words) 37. Button on a DVR 40. Football game starters

45. “America’s Next Top Model” finalist Scullark 46. Director Spike 48. The square root of IX 50. It was asked, “Who’s the fairest of them all?” in “Snow White” 52. “American ___” (2004 Green Day album) 54. Author Dahl who brought us Willy Wonka 55. Fruit in fruit cocktail, sometimes 56. TV award won by Fleetwood Mac performing with the USC Trojan Marching Band 57. Sonic the Hedgehog’s former home 59. Visa or MasterCard alternative, for short 60. Word before signature or management 61. “___ F” (“Beverly Hills Cop” song popularly played by bands) 64. 123-45-6789, for example (abbrev.) 65. “What Are You Doing New Year’s ___?”

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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