Suncoast Sound, Magic ofOrlando (both playing theoriginal music of Dr.Robert Smith), Crossmen(Matt Krempasky) and, inrecent years, the Cavaliersplaying originalcompositions of RichardSaucedo.

Corps whose imagesomewhat locks them intoa limited repertoireselection: Americanos andHawthorne Caballeros(Spanish), Pioneer (Irish),

Troopers (Western).

Bluecoats • 1972-“Bloooooooo”

The Canton, OH, Bluecoats have longentertained audiences with traditional bigband jazz and music with jazz overtones.During the 1980s, they represented one ofthe purest forms of drum corps. The corpsentered the top 12 in 1987, creating amagical effect with a big band style, drivingpercussion, a trademark snare line, jazzride cymbals, lots of horn syncopation, jamsessions, diamond drill movements and oneof the best complements of gifted sopranosoloists among the finalist corps.

In 1987 and 1988, they brought thehouse down with memorable musicalperformances of Autumn Leaves withsmooth, flowing drill and matching visuals.They finished eighth in 1989 (considered tobe one of their best years, musically) withsome very tuneful selections of Johnny OneNote, My Funny Valentine and Sing, Sing,Sing.

In the early 1990s, they visited music ofDuke Ellington, the Beatles and DizzyGillespie, but during the late 1990s, the corpsseemed to lose some of the magic they hadwith the fans in their glory days of the 1980s.

Moving into the 21st century, they steppedfirmly into the world of contemporaryjazz/wind ensemble music, including themusic of Michael Daugherty. In 2001, theypresented a convincing “Latin Sketches” and,in 2002, they were a solid contender for afifth-place spot with a high-energy, creative,entertaining program called “Urban Dances.”

They have been a DCI finalist every yearsince 1987, finishing seventh in 1995 and1996 and sixth in 2002.

Some fan favorites: Autumn Leaves, MyFunny Valentine, Sing, Sing, Sing, WhiterShade of Pale, Night in Tunisia and HarlemNocturne.

Blue Devils • 1970-“Sophisticated jazz”

The Blue Devils were founded in 1970and, within six years, they earned the first ofa record 10 DCI Championships. Theychanged the face of drum corps in the 1970swhen they brought jazz to the forefront ofthe activity and put their own mark on itwith a sophisticated, contemporary jazz styleand smooth, laid-back drills.

Since that time, the corps has beensynonymous with traditional and progressivejazz and all flavors and styles of jazz inbetween. Over the years, they have exploredjazz-blues, Latin, big-band, neophonic (StanKenton), swing and rock and, more recently,a jazz/symphonic blending.

The Blue Devils’ approach to show designis one that centers around a strong musicalpresentation with visual accompaniment.The corps is renowned for its penetratingbrass line with a greatly extended brass range,great soprano soloists (squealers) and brassensembles and a mid-voice prominence withalto horn sections, unusual dynamic control,thundering percussion, outstanding bassdrum lines, cymbal racks, dense groups ofhorns moving around the field, “gate” drillsand dance-aholic auxiliary, whose main

function is to enhance the musicalproduction.

The 1976 Blue Devils were one of the firstcorps to merge a great horn line with a greatdrum line. They won three championshipswith Channel One Suite in 1976, 1977 and1986 (with a great soprano solo in the balladsection) and programmed it again in 2002.

During most of the 1980s, the corps’productions remained based on jazz withoutmajor style changes. Their guards have beenconsidered “worthy of the Las Vegas stage”and few will forget the beautifulwinged guards of the mid-1980s, initiating adance trend (e.g. in Pegasus, 1982).

The two years they made a radicaldeparture from jazz were 1985, playing musicwith a “metallic” visual program as theirgreat horn line and top-rated percussionsection powered through Liferaft Earth,Trilogy, a percussion feature of Carn EvilNine, Keith Emerson’s First Piano Concertoand Pat Metheny’s First Circle; and 1990,when they attempted something new with therock opera “Tommy,” using field tarps,geometric shapes and unusual color guardequipment. This rock show ruffled a fewfeathers, although they did jump back intoclassic Blue Devil jazz during part of PinballWizard.

In 1991, they went back to high-powered

The Concord, CA, Blue Devils, 1987, DCI Finals in Madison, WI(photo by Orlin Wagner from the collection of Drum Corps World).

The Canton, OH, Bluecoats, 1986, at DCIPrelims in Madison, WI (photo by Orlin Wagnerfrom the collection of Drum Corps World).

Chapter 9by Dr. Rosalie Sward

Drum corps come and go, staffand members come and go. Butmost of the corps that are long-term survivors have had distinctmusical and visual identities thatdefined their personalities. Moreoften than not, these personalitiesreflect the visions and creations ofthe leading arrangers and designerswho have worked with the corps.

One has to recognize Blue Stars,Boston Crusaders, Garfield Cadets,Cavaliers, Madison Scouts, SantaClara Vanguard and Troopers for along tradition of staying power inthe activity.

Corps with the most solidmusical or visual identities: BlueDevils, Bridgemen, Madison Scouts,Phantom Regiment, Pioneer,Troopers, 27th Lancers, VelvetKnights, Hawthorne Caballeros,Americanos and Bluecoats, for themost part.

Corps that changed theirmusical and visual image now andthen: Bluecoats, Crossmen, SantaClara Vanguard and Spirit ofAtlanta.

Corps that were risk-takers:Garfield Cadets and Star of Indiana.

Corps that were searching for orthat had a relatively undefinedimage: Blue Knights (in 2001,2002), Colts, sometimes Crossmen,Freelancers, Glassmen, Star ofIndiana and Boston Crusaders (inthe late 1990s and early 2000s).

Corps that are considered to be“jazz”: Blue Devils, Bluecoats andMadison Scouts.

Corps that are considered“classical”: Phantom Regiment andSanta Clara Vanguard.

Corps noted for 20th centurysymphonic wind music: Cavaliers,Garfield Cadets and Blue Knights.

Corps noted for playingprograms of original music:

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jazz, but it was still a bit of a departure fromtheir big band jazz, playing a somewhatabstract Bird and Bela in B-flat, which wasscored with greatly expanded chordstructures. In 1992, they definitely returnedto big band and Latin jazz. Their 1994 “MySpanish Heart” is considered by many to betheir best show ever.

In 1995, they entered a world a bit on thedark side, with a frightening “Carpe Noctem:the Legend of Alcobaca,” conveying a tragiclove story with the guard’s use of skulls, facepaint and torturous movement. Theycontinued in this dark, intense directionwith their 1996 “Club Blue” and itsaccompanying sights and sounds of criminalactivity.

During the late 1990s and continuing intothe 21st century, their talented brassarranger, Wayne Downey, moved away fromthe straight ahead jazz of Kenton, Rich andMangione, creating clever arrangements ofcontemporary wind ensemble music, filmscores and classical/symphonic selections, tothe dismay of some fans, who bemoaned theloss of old Blue Devil-style jazz.

One example of this altered style was the2000 Bernard Hermann show. However, in2002, they returned to true Blue Devil jazzwith one of their most musically accessibleshows ever.

The Devils have a way of making thingslook easy and have been criticized at timesfor a comparatively slow-moving drill, but fewcorps have been able to match their highstandards of musical performance andexcellence of drill execution.

The Blue Devils continue to be tops inexecution and innovation in guard and brass,winning high brass many years and havinghad successful competition WGI guards over

the years. In 2000, the Devils were the first to come

out with the new B-flat horns along with TheCadets.

Some fan favorites: Chase the CloudsAway, Channel One Suite, Legend of theOne-Eyed Sailor, New York Fantasy, Pegasus,One More Time Chuck Corea , T/O and theprogram of “My Spanish Heart.”

Blue Knights • 1958-“Excellence and innovation”

Moving from its 1958 founding as a paradecorps, to becoming a perennial DCI finalist in1991, this corps became known for playingsophisticated 20th century musical programsand nuance-laden interpretations ofsymphonic music, with elegant body work,jazz running, high-step marching, squatting,small brass groupings, sensitive soloists,ability to play softly and trademark colorful,hand-painted Brenda Vang flags.

They marched Zingali drills in 1990 and1991. In the mid-1990s, they explored brassband music. One of their greatest strengthswas Ralph Hardimon’s percussion line.

In 2000, they finished in sixth place atDCI with one of the best-designed shows ofthe year, “Colors of Brass and Percussion.”In 2001, the corps made a move from beingone of the more esoteric corps of the 1990sinto what had the potential to evolve into anew version of Bridgemen/Velvet Knights, butin 2002 they returned to a more serious andrather dark program, which just missed thetop 12 with a 13th-place finish.

Some fan-favorites: Vaclav Nehlybel’sTrittico, played twice, in 1994 and 1999.

Blue Stars • 1965- “The Kids from God’s

Country”“The Kids from God’s

Country” have been known forexcellent drum lines andoutstanding marching capability,and they were one of the firstcorps to spell out a word in scriptwriting on the field, “Chicago.”

Noted for performing excitingand recognizable selections, theyhave often played music that hasbeen played by the “big guys.” In2001, the corps played the St.Louis Blues March, a percussionplus brass feature of Birdland, aconcert of La Fiesta, a Gershwin

classic of Strike Up the Band and finishedwith a popular piece of the late 1970s andearly 1980s, Children of Sanchez.

In 2002, for the 30th anniversary of DCI,they brought back old favorites for a “mixed”theme program recalling Blue Stars “hits” ofthe past 30 years, including the difficultOverture to “Candide” from their 1993program.

This corps placed in finals for the firsteight DCI years, almost winning the firstchampionship in 1972 when they scoredsecond to the Anaheim Kingsmen. In morerecent years, the Blue Stars have continuedto exist as a power and a winning corps inDCI Division III, winning that championshipin 1989, 1993 (with only 13 horns) and 2001.

Some fan favorites: First Federal March,South Rampart Street Parade, Soulero andOverture to “Candide.”

Boston Crusaders • 1940-“The corps that would not die”“The corps that would not die” was formed

in 1940 as the Most Precious Blood Crusaders(later the Hyde Park Crusaders and BostonCrusaders). Boston was a pre-DCIpowerhouse in the 1950s and 1960s.

They were the first junior corps to pullslides in their horn line; under the directionof Gerry Shelmer their percussion sectionswere leaders within the corps movement andthey were the first corps to appear in aninaugural parade when President John F.Kennedy took office.

The present-day Crusaders are survivors.Through the years they were one of thesmaller DCI corps, down to 19 members bythe end of 1972, and in 1973 they showed upat Whitewater for prelims with just 13 horns,but they never lost hope.

In the 1980s, the corps scored in the 60sand 70s in DCI prelims. From 1992 to 1994,they played a series of Russian musicprograms and, in 1996 and 1997, they playedAmerican music in “Portraits of OurHomeland.”

After years of struggle and determination,in the 1999 season they put together aprogram, corps, staff and board ofdirectors that provided the direction anddesign necessary to elevate that corps into

Denver, CO, Blue Knights, 1993, at DCI Prelims (photo by SidUnser from the collection of Drum Corps World).

The Boston Crusaders, 1982, at DCI Prelims in Montreal, QUE(photo by Dale Eck from the collection of Drum Corps World).

La Crosse, WI, Blue Stars, 1989, at DCI Division III Finals in KansasCity, MO (photo by Orlin Wagner from the collection of Drum CorpsWorld).

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the top 12 for the first time where theytook ninth place. They moved up to fifthin 2000 with one of the most inspirationalshows of the season.

Their highest DCI placements are fifthin 2000 and a tie with the PhantomRegiment for fifth place in 2002.

Some fan favorites: Conquest (with JimCentorino as soloist) and Time to SayGoodbye.

Bridgemen • 1964-1988“Here come the bananas”

The Bridgemen introduced a new, funstyle to drum corps in 1976 that was pureentertainment, but performed withquality, when they burst onto the scene inlong, yellow coats after several years out ofDCI Finals.

The corps came to the attention of thenation primarily through its triple-tonguinghorn line in the early 1970s. The horn line’squality and the tremendous drum line thatfollowed awaited only the right drill for thecorps to climb in the ratings.

In 1976, the drill appeared -- innovative incombining a uniform change, the Broadwaystage and precision -- and the Bridgemenbecame a drum corps institution.

Although visually on par with the rest ofthe pack, they were not so much innovatorsfrom a drill standpoint, but rather, fromknowing how to stage a feature.

They introduced drum corps audiences ofthe 1970s and 1980s to a dressing room madeof flags, a sexy chorus line in red leotards,messages spelled out inside their yellow coatsand flashed to the audience, and the entirecorps passing out immediately after playingthe last note. Later years witnessed growthin sophistication.

Their most important innovation was thegroove drum line, described as a “wickeddrum line with a smooth, cool attitude,” andthe incorporation of a bit more dance andmovement in the guard. They had the mostfamous percussion feature of all time, the1983 blindfolded snare line in Black MarketJuggler, under the direction of DennisDeLucia.

This is the corps fans would most like tosee return to the activity. The Bridgemen(with the help of Bobby Hoffman) wereinstrumental in introducing much-neededcomic relief into the activity and areconsidered by many to be the single mostentertaining drum corps of all time.

Their highest finish was third in 1980,but some of the fan-favorite years were 1977to 1979.

Some fan favorites: Hymn to the LastWhale, In the Stone and Black MarketJuggler.

Carolina Crown • 1990-“Studies in contrast”

Carolina Crown introduced contemporarydrum corps to the Carolinas in 1990 andcame into the top 25 in 1992 playing selecteddances of Malcolm Arnold in the same yearsome of the same pieces were being played by

the DCI Champion Cavaliers. In 1995, they took DCI “by storm,” placing

11th with one of that year’s best showconcepts, “Stormworks,” with an exciting,driven performance, awesome musical effectsand appropriate drill designed to simulate acoming storm, staging lightning bolts fallingto the ground.

Through the 1990s, Crown developed intoa solid corps, especially in the guard captionand drum line. Their musical and visualprograms provided interesting studies incontrasts, like “Chess and the Art ofStrategy,” featuring the music of WilliamWalton and Sir Edward Elgar in 1996, withblack and white chess figures movedstrategically around the field, and “Jekyll andHyde” in 1999, contrasting the sounds of furyand emotions of love.

In recent years, Crown has become knownfor ballads and intriguing visual packagesthat use creative guards with unexpectedequipment. In 2001, they became moreabstract in music and visual with their“Industry” program and had one of the bestpits on the field.

They were DCI finalists from 1995through 2001, with their highest finish being10th in 1996.

Some fan favorites: La Fiesta Mexicanaand “Stormworks.”

Cavaliers • 1948-“The Green Machine”

The “Cavies” are one of the mostsuccessful junior corps in the history of thedrum corps activity. In 1957, they were thefirst Midwest corps in many years to win theVFW National Championship and theirmachine-like precision in both playing andmarching earned them the nickname “TheGreen Machine.” They eventually capturedeight VFW titles, with an undefeated seasonin 1961, and they have continued to be awell-tuned machine ever since.

Along with the Madison Scouts, theChicago Cavaliers were one of the earliestcorps to present theme entertainment shows,which were not well-received by the judges atthe time in the early 1970s.

When DCI began in 1972, the corpsentered a decade in which they were a goodcorps, but they never threatened for nationaltitles. In the late 1970s, they played pop,Spanish and even some rock music. Fansloved these shows because they were alwaysexciting, both visually and musically, butthe winning corps were playing moreserious music.

In the early 1980s, the Cavaliers’management reportedly made a consciousdecision to “get more serious” about winning.Under the leadership of visual designer SteveBrubaker, the corps made a gradualprogression in style change into moresophisticated musical and visual programs,while also showing consistent improvementin ranking throughout the decade andeventually establishing the organization as anannual contender.

The most dramatic style change occurredin 1985 when they moved to an entirelyclassical repertoire of Holst’s “Planets” fromthe mixed programs of the mid-1970s,propelling the unit to fifth place at DCI Finalsand catapulting them into serious contentionin 1986.

The “Planets” of 1985 (repeated in 1995for their second DCI championship) featuredred cymbals and red exercise balls in Mars,the Bringer of War.

Other memorable features of that decadeincluded beautiful geometric forms inconstantly flowing drills, the full-field spreadon the yard lines, the dragon and the rakes(showing the Korean love of nature) inKorean Folk Songs, and fantastic equipmentwork of the guard in motion.

As the Garfield Cadets was the corps of the1980s, the Cavies became the corps of the1990s, continuing into the 21st century,specializing in programs of 20th centuryclassical and wind ensemble music, as well asbeing tops in visual, execution, percussionand guard.

One of their greatest visual endingsoccurred at the conclusion of the 1991 show

The Bayonne, NJ, Bridgemen, 1979, at DCI Finals in Birmingham, AL(photo by Steve Evans from the collection of Drum Corps World).

Fort Mill, SC, Carolina Crown, 1995, at DCI Finals in Buffalo, NY(photo by Dale Eck from the collection of Drum Corps World).

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when the horn line folded into the 50 yardline and then burst out into a Christmastree shape while the flag line did an exchangeover the top of the formation.

It took them 20 years to do it, but in 1992the Cavaliers won their first DCIchampionship with “Revolution andTriumph.” This militaristic program featuredone of the all-time great drum lines, both inthe battery and the pit.

In the 20th century, there was talk thatthe original musical compositions of RichardSaucedo were written to fit the drill. This hasbeen denied, but their drill is one-of- a-kindand the Cavaliers are one of the mostinnovative corps with regards to drillmatching music and innovative, geometricvisuals.

The Cavies are the pioneers of a totalvisual and musical package that displaysexcellence in visual, execution, percussionand guard, a precision-oriented “corpsmachine,” as their nickname implies.

They have long offered demanding, evenastonishing, visual and musical programsthat are exhilarating to watch and listen to,but done with intricate, challenging drills,

rather than non-stop “whip-like” maneuvers.They have never been afraid of tackling adifficult musical book and have deliberatelysought out the most challenging pieces,including Stravinsky’s “Firebird Suite.”

They have been innovators in thepercussion as well as the visual captions,presenting a strong sound; outstanding,innovative pit sections with some veryaccomplished musicians; and, in recent years,they have moved from average to oustandinghorn lines, winning the high brass award forthe first time in 2002.

Their masculine, equipment-orientedguard has always been one of the hardestworking and most exciting in both drumcorps and winter guard (they won severalWinter Guard International titles in the1980s), always putting forth great effort inselling a highly demanding and physicalrepertoire. They have been consistentlycreative, frequently on the cutting edge oftough rifle, sabre, body work and high flagtosses, when everyone else turned to dancing.

It has always been the goal of theCavaliers to expand the visual and musical

repertoire of what drum corps can do, ratherthan attempt to change the basic nature ofwhat drum corps is.

They are in a class by themselves in termsof combining musical and visual design withdrills that inspire and seem to serve a greaterpurpose than merely having the membersmove around the field. The groundbreakingwork of Steve Brubaker has been extendedand expanded into the 21st century bydesigner Michael Gaines.

In 1992, the Cavaliers won their first offive DCI championships, repeated in 1995,2000 (tie with Cadets), 2001 and 2002, whichwas an undefeated season where they earnedthe highest score ever and tied The Cadets forachieving a three-peat.

Some fan favorites: Somewhere Over theRainbow, Bully, Santa Esmerelda Suite,Softly as I Leave You, “Pines of Rome,” Mars,the Bringer of War from “The Planets,”Variations on a Korean Folk Song, All ThingsBright and Beautiful and “Niagara Falls.”

Colts • 1966-“Iowa’s Ambassadors of Music”The Colts have been a survivor, having

persevered in spite of missing the finalsquota of corps for a number of years atDrum Corps Midwest championshipsduring the 1980s.

The early riverboat image anduniforms perfectly fit the corps’ identity,being located in Dubuque, IA, on theMississippi River. In those days, theywere noted for their soprano squealer,their great baritone soloist and multipledrum sets clicking away in the pit.

Since abandoning their riverboatidentity, “Iowa’s Ambassadors of Music”have moved far from their roots,seemingly searching for a new identityeach year, through many style changesincluding New Age, musicals, vocal andreligious music like John Rutter’s

“Magnificat” in 1996 and “The Music of BloodSweat and Tears” in 1997. They presented atotal musical and visual package in 2001 with“Chivalry.”

One of their best shows was “Sunday inthe Park with George,” which earned themtheir highest DCI placement of ninth place in1995.

Some fan favorites: Sing, Sing, Sing andSummertime with Greg Blum as sopranosoloist.

Crossmen • 1975-“A fan favorite”

The Crossmen are known as a powerhousecorps with roots of playing jazz and a modernjazz style that is often “unabashedlyswinging” and “enthusiastically progressive.”

Their shows are usually crowd-pleasers,with trademarks of aggressive horn books,spectacular percussion sections with a“groove machine” identity and full-blownvisuals. They are second to none in theirability to park, play and wail.

They have been somewhat inconsistent intheir identity, moving through jazz, classical,

New Age and big band with highly diversifiedmusical collections. They have enjoyedexploring the music of composer andperformer Pat Metheny several seasons.

Their three-year serial on the “PlanetEarth” (1992-1994) incorporated someoriginal music and depth of symbolism.Recent years have seen the corps solidifytheir commitment to hard-driving jazz.

The corps has had its ups and downs overthe years, with many staff changes. Theywere a finalist in the late 1970s and early1980s, but dropped out of finals for four yearsfrom 1985 through 1988. They have beenDCI finalists 16 times, including every year

The Rosemont, IL, Cavaliers, 1991, at DCI Prelims in Dallas, TX (photo bySid Unser from the collection of Drum Corps World).

The Delaware County, PA, Crossmen, 1993, at DCI Finals inJackson, MS (photo by Sid Unser from the collection of DrumCorps World).

The Dubuque, IA, Colts, 1995, at DCI Finals in Buffalo, NY(photo by Dale Eck from the collection of Drum Corps World).

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since 1989.Theirhighestplacementwas sixth in1992, whichwas also oneof their mostentertainingyears.

Some fanfavorites:RussianChristmasMusic,Overture to“Russlan andLudmilla,”Birdland,Caravan andFirst Circle.

Dutch Boy • 1981-“My Way”

A dazzling addition to DCI, this corps hada unique identity and turned on the crowdwith their show-biz musical savvy, playingselections of Frank Sinatra and Cole Porter,and featuring eye-appealing, Las Vegas-styleshowgirls.

Their only year as a DCI finalist was 1990(12th), but they finished 13th in the otherthree years from 1988 to 1991, all withhigher scores than in 1990. They continuedtheir glitzy style through 1993, but ceased toexist as an open class corps at the end of thatyear, now competing in division III.

A fan favorite: My Way.

Freelancers • 1974-1994“A capital corps”

Music was their strength and theygenerally played songs that fans recognizedor tunes that were instantly accessible. Theywere often innovative, experimenting in the1980s with unusual equipment, reversibleuniforms, horn line members staged onplatforms and “drum corps in the round.”

From 1988 through 1990 theyexperimented with movie music like thescores of John Williams and “Batman” and, in1992, their last year in finals, they playedmusic of Sir William Walton, with some of

the most gorgeous flags seen on the drumcorps field.

Frank Dorritie, who worked with theFreelancers in 1985, wrote: “They were one ofthe hippest units ever to take the field andthe activity misses them greatly.” Theircurrent “cutting edge” WGI drum line hasbeen a solid contender for the title each year.

The Freelancers are featured on threetracks of “Echoes CD,” a set of highlightsfrom the first 30 years of DCI, one of which isthe incredible Bells finale from the 1985Michel Columbier show.

The corps was a nine-time DCI finalists,with highest finishes being eighth in 1977and 1983.

Some fan favorites: Bells and the 1993show featuring the music of Bill Chase.

Garfield Cadets • 1934-“The ultimate risk-takers”

The Cadets, formerly Cadets of BergenCounty, Garfield Cadets and Holy Name, isone of the oldest surviving drum corps, whichis suggested by their corps song title, ForHoly Name Shall Always Be. They set thebasic format of drum corps and wereresponsible for introducing many innovationsover the years, such as converting their colorguard to horn players.

Much like the Blue Devils changed theface of drum corps in the 1970s, the Cadetsdramatically reshaped the drum corps activityin the 1980s and molded what was to happento the activity in the future.

Under the leadership of visual designerGeorge Zingali, Garfield brought the drumcorps world into insanely fast-moving drill,where “music became motion.” They becamenoted for their innovations in the areas ofhigh-speed drill, whiplash drill, the “Z-pull,”random scatter and spot and asymmetricaldrill, which included follow-the-leader and“the reshape.”

Musically, they became noted for fast scalepassages in the horns, continuing themelodic line from one section to another,versatility of the brass and percussion linesdoing tough drill while playing challengingcharts and sideways cross-stepping of thedrum line. And, along with the Spirit ofAtlanta, the Cadets were upping the bar forthe color guard throughout the 1980s and

into the future.In 1981, they finished seventh

before making their incrediblerise to the top. In 1982, theGarfield Cadets brought DCI tonew heights of achievement withRocky Point Holiday andselections from LeonardBernstein’s “Mass,” jumpingtwo spots at finals with aconcept that was quite radical atthe time.

While Garfield was leavingsome fans by the wayside, theywere picking up many more whowere intrigued by the newdirection in musical style anddrill writing.

In 1983, they began their winning streakof three consecutive titles, through 1985.Their 1984 presentation of selections from“West Side Story” has yet to be equaled. In1985, they began to lead the activity down theroad of esoterica with their mystifyingproduction of Bernstein’s “JeremiahSymphony.”

In 1986, an unusual but entertainingproduction, minus the talents of GeorgeZingali, allowed the Blue Devils to regain theDCI crown and end Garfield’s reign.

Although the Cadets became synonymouswith the music of Bernstein, they didn’t dobad with Copland either. Their 1987“Appalachian Spring” championship programis considered one of the best productions everseen and heard in the activity -- a seamlessand total package, with its very memorabledisintegrating company front.

Just as Santa Clara chose to performBroadway in 1988 and 1989, in 1989 the

Cadets also chose to perform the Broadwayhit “Les Miserables,” which was a veryemotional program, but they placed fifth atDCI -- the lowest finish for the corps inseveral years. Under the direction of MarkSylvester, this program moved them into atheatrical direction for the future, whichincluded role-playing of their guard.

In the 1990s, they explored 20th centurycompositions, initiated by an unusual(minimalist) “ABC’s of Modern Music” in1991 and a single composition program in1992 titled “To Tame the Perilous Skies” withits rotating airplane.

The Cadets are consistently strong in allcaptions and not afraid to take risks withprograms, props and music. Even in “offyears,” general effect is a caption in whichthey do well. They are masters at animatingthe music (“music is movement”) and the

Kitchener, ONT, Dutch Boy, 1990, at DCIFinals in Buffalo, NY (photo by Sid Unserfrom the collection of Drum Corps World).

The Bergenfield, NJ, Cadets of Bergen County, 1989 (photo byArt Luebke from the collection of Drum Corps World).

The Sacramento, CA, Freelancers, 1988 (photo by Bob Fields from the collection ofDrum Corps World).

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guard acts out their group roles with emotionthat is felt by the audience.

Some of the music they have chosen overthe past two decades has been remote anddifficult for the audience to identify with.They are the avant garde of the activity,always operating on the cutting edge. Theyare masters at cleaning drill and they haveconsistently shown they can progress themost in the shortest possible time, evenchanging their program at the last minute topeak at DCI Finals and win championships.

Continual innovation has led this corps upthe competitive ladder, as The Cadets havemastered the concept of being successfullyversatile, consistently finding ways to wrapthe new within the confines of the familiar,allowing fans to view their innovations asfresh examples of something they’ve knownfor years. They could do (and have done)almost any theme, serious or light, and besuccessful, mastering the art of show design.

In the 21st century, this corps, which ledeveryone down an abstract path in the 1980s,has gone in a new (maybe old) direction,paying greater attention to entertainment,less frenetic drill, dancing guards and funshows, particularly with the 2001 Moondanceand 2002 Boogie Woogie Bugle Boy.

Through 2002, the Cadets had won eightDCI titles and through 2001, they were theonly open class corps to win threeconsecutive DCI titles, but as of 2002, theyshare that achievement with The Cavaliers.

Some fan favorites: In the Hall of theMountain King, Rocky Point Holiday, “WestSide Story,” Overture to “Candide” and“Appalachian Spring.”

Glassmen • 1961-“Successfully eclectic”

In considering their programs and theirappearance over the past 10 to 20 years, anappropriate description of the Glassmenmight be “eclectic.” They have explorednearly every musical genre traditionallyfound in drum corps, including jazz, NewAge, rock, American composers and classical.

In the late 1990s, driven by a strongcompetitive desire to reach the top, theybegan moving in a more serious musicaldirection, playing music by Bizet, Borodinand Kodaly.

Many shows have prominently featuredthe color guard, like their period Gershwinshow of 2000,although their brasshas a distinct characterand unique sound ofits own, along withtheir own unique styleof bodywork, and theyhave been strong inpercussion as well.

The Glassmenalways take a steptoward tryingsomething new on thefield with sometimesbrilliant visualexecution.

In the 21st century, it seems that theyhave designed shows to impress the judgeswith more obscure musical programs, thus,these programs have been up and down interms of fan appeal.

They became a DCI finalist for the firsttime in 1993 and were the Cinderella story of1998 with “Dreams of Gold: The Music ofAlexander Borodin,” placing them in thetop six for the first time with the first of threefifth-place finishes in 1998, 1999 and 2001, ayear which featured an outstandingflugelhorn soloist..

Some fan favorites: Farandole,Polovetsian Dances and Impetuosomente.

Kilties • 1935-“Wea winnea bea daunted”

They became known as “The Mad Plaid”long ago because of their authentic Scottishuniforms, which have changed over theyears in color and type, but have alwaysused traditional plaids. They have beeninnovators, both musically and visually,and, until 1978, they were one of only threecorps remaining all-male.

The Kilties was one of the mostprominent junior corps of the 1960s. “Noone had the look and sound of the KenNorman Kilties,” one writer described.

A favorite move was the centerless wheel-- a complete, full-corps wheel with thebattery as the center, staying stationaryduring a percussion feature, while the rest ofthe corps did a perfect wheel around themusing an imagined center point.

After folding in the early 1980s, they nowexist as a senior corps, their longevitysupporting their motto: “We will not bedefeated.”

A fan favorite: Auld Lang Syne.

Madison Scouts1938-

“Masters ofentertainment”Madison has long

been known for theirflamboyant style, bothin music andmarching, “in your facedrum corps” and a“killer instinct.” Duringthe late 1940s and1950s and continuing tothe present, Madisonwas usually the favorite

of the crowd as they havealways performed a veryshowy, yet precise programfull of surprises for fans.

In the days when everyonecarried one pair of cymbals,they carried at least four pair,twirling in sequentialpatterns. They wereresponsible for flipping buglesand head-choppers, double-time and behind-the-backcatches, and marching withdance steps as they went.

They were undefeated in horns for 46consecutive shows throughout 1974 and1975, and the 1975 season was an undefeatedyear for the corps, making them the firstnon-Western corps to win DCI. In addition totheir renowned musicians, Madison wasknown in the early years for a very excitingcolor guard, both in summer and wintercompetitions.

The Madison Scouts and The Cavaliers arethe only remaining all-male corps and, alongwith the Chicago Cavaliers, Madison was oneof the first to feature “theme” entertainment.

Each year the Madison Scouts take“higher, faster and louder” to a newdimension with a style of playing unique inDCI -- a big, high, brassy sound and ear-splitting soloists. Exhausting to watch, theyexude great energy, seeming to be inperpetual motion (with a few park and blows).

The Scouts are renowned for their loudSpanish jazz; exchange of drum parts; high-step marching; rotating company fronts;rippling player-by-player turn-arounds; long,slow company fronts; and a dancing guard.And who could forget their barstools?

Madison is one of the few corps left that isplaying for the fans and not just for thejudges. There is no symbolism or hiddenmessages. The Scouts continue to be thecorps that entertains before the judging evenbegins, with their impressive entrance andfleur-de-lis drill.

As a reward for their crowd-appealing,fan-friendly shows, the Scouts won thecoveted “Spirit of Disney” award four years.

Madison’s shows can be appreciated onmany levels. Every trademark Madison effectimaginable is used to create a truly powerfulexperience, a “killer Madison” instinct that

The Racine, WI, Kilties, 1974 (photo by Jane Boulen from the collection of Drum CorpsWorld).

The Toledo, OH, Glassmen, 1995, at DCI Prelims in Buffalo,NY (photo by Ron Walloch from the collection of Drum CorpsWorld).

The Madison, WI, Madison Scouts, 1985, at DCI Finals in Madison,WI (photo by Orlin Wagner from the collection of Drum Corps World).

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sends the crowd into afrenzy. They weave aseamless web ofexcitement from thethrilling opening fanfareto the heart-poundingcloser. When they comeat you with their wall ofsound, high leg lift,picture poses, non-stopenergy and Malagueña-style climax, the impact isdevastating.

In a number of yearsthey have used one of theselections in theirprogram to show off avariety of jazz musicalstyles includingprogressive jazz, rock,folk, boogie and fusion or all of the above like“Harlem Suite” (1986) and Slaughter on 10thAvenue (1989).

They are also preservers of tradition inthe activity, often revisiting their roots withtunes and visuals from the past. In their1999 production of the rock opera “JesusChrist Superstar,” the entire King Herod’sSong was a trip down memory lane with oneretro element after another, includinghumorous musical and drill parodies ofold-fashioned maneuvers like squad turns andcolumns; a playful, jazzy Dixieland combo;some high mark-times; spinning drill behindhigh rifle tosses and drill collapsing into amassive rotating line; a towering, exposedrifle toss; and a restatement of the title themewhile the corps formed a cross, then a star.

During the 1970s and 1980s, the Scouts’color guard, under the instruction of SalSalas and later Mike Turner, was outstanding,with great execution. However, in recentyears, the Madison guard has been a weakspot and in 2002 the corps dropped out of thetop 12 for the first time.

Madison has won the DCI championshiptwo times, in 1975 and 1988. Their 1988 DCIchampionship performance brought thecrowd to a frenzy in Malagueña and their1995 Spanish bullfighter program, consideredto be one of the most intense andentertaining ever, a perfect marriage ofmusical and visual tension, brought thehouse down.

Some fan favorites: Black is the Color ofMy True Love’s Hair, God Bless the Child,MacArthur Park, Ballet in Brass, Slaughteron 10th Avenue, Malagueña, Through theEyes of Love, Memory from “Cats” with agreat re-entry, Rhapsody in Blue with thepiano formation, Concerto for Guitar andOrchestra and Malaga.

Magic • 1989-“Original programs”

Magic of Orlando came on the field in1990 with virtually the same corps and staffthat made finals in 1989 with SuncoastSound. They played a variety of music thatincluded jazz-like material, movie music,classical pieces, wind ensemble music and

original music, largelywritten and arranged byRobert Smith of SuncoastSound fame.

During their first twoyears, they played classicalselections from “Fantasia”and then they made theirdefining mark with theirtwo “Cirque du Magique”shows (which includedmusic from Cirque duSoleil) and the “DanseAnimale” show.

Their visual programswere always colorful,different, innovative andfun to watch, especiallywith the second “Cirque”year and the fan-friendly

“Saint and Sinner” show of 1997.Their first appearance as a DCI finalist was

in 1994 and their highest finish was eighthplace in 1996 with a serious program, “TwelveSeconds to the Moon,” an original concertband piece by Dr. Robert Smith.

After 1999, the corps continued as MicroMagic. In 2002, Magic of Orlando returned tothe field with a new image and a new,experienced staff, including Wayne Downey asbrass arranger, and won the DCI Division IIchampionships and finished 11th in division Iwith a fan-accessible program, “DesertWinds,” based on the movie score of “TheWind and the Lion.”

Phantom Regiment • 1956-“Originators of symphonic

pageantry”Phantom Regiment was formed from the

St. Thomas High School Crusaders and intheir earliest years they were best known fortheir precision color guards, namely thelegendary Phantomettes.

The Phantom Regiment drum corps has

long been renowned as the “originator ofall-classical programming.” The corps hasproven that classical music and drum corpscan be melded into an inspiring art form. Assuch, they have created an appreciation for“long-hair” music within all generations,while also being one of the most entertainingand talented corps ever to hit the field.

Phantom had some outstanding corps inthe late 1970s, finishing with some heart-breaking second places in 1977, 1978 and1979. In 1977 and 1978, they used pitcheddrums with their Flight of the Bumblebee.

In the early 1980s, the corps was brashand beautiful, with a deep and haunting bass.They set the stage for theatrical pageantrywith “Spartacus” in 1981 and 1982, in whichthey used a veritable “opera house” full ofequipment and passed out explanatoryprogram notes. Phantom was one of the firstcorps to use 60-plus horns, creating apowerful brass orchestra, and they areconsistently noted for outstanding horn lines.

At one time or another, the corps haspresented nearly all of the basic classicalrepertoire, sometimes choosing darkerscores, such as “Symphonie Fantastique,”“Romeo and Juliet,” and music ofShostakovich. After their 10th-place finish in1986, they cried out for a style change andthe Regiment came back in 1987 with themost strikingly beautiful visualtransformation of all time, orchestrated byMichael Cesario. Pure white uniformsmatched the production of Tchaikovsky’s“Swan Lake” and “Nutcracker” ballets.

In 1988, the Regiment won the colorguard award for their group portrayal of“Juliet,” even though they were staged as abackdrop to the corps for a substantialportion of the show. Many feel that their1989 “From the New World to a New Age”and 1996’s “The Defiant Heart” are two of thebest all-time drum corps shows.

Throughout history, Jim Wren’sarrangements have stayed true to theoriginal composers and have presented theperfect marriage of power and emotion. Onefan said, “Phantom Regiment is the trulymusical corps in the activity. They actuallyface forward when they play soft.”

Wren’s scoring has showcased bold brasslines with technically precise soprano andFrench horn or mellophone lines andtraditionally strong, deep low brass sonoritywith emphasis on baritones and contras.

Their visual history is closely tied to thedesigns of John Brazale. The visualtraditions of Phantom include a militaristicimage; the Rockford file; long, slow companyfronts; blocks and diagonal pass-throughs.

Other highlights of Phantom’s showshave included the “wedge” (the spectacularmoving wedge in 1993), the “iceberg” drill,“crab-stepping,” the sequential twirling offlags and sabres, large (14-member) contralines and flashy tenor lines, and some of themost beautifully played, lyrical yet dramaticballads in the activity.

Through the years, Phantom has mademinor alterations to both music and

Magic of Orlando, 1990, at DCI Prelims in Bulffalo, NY(photo by Dale Eck from the collection of Drum CorpsWorld).

Rockford, IL, Phantom Regiment, 1991, at DCI Prelims in Dallas, TX(photo by Ron Walloch from the collection of Drum Corps World).

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uniform, yet have always maintained theirreserved and stoic image, once in a whileshowing a bit of humor like in their 1990Saint Saens program where they had fun withcontra-elephants). In 1991, Phantom did“opera at its best,” with a very sexy guardpresentation in Bacchanale, and in 2000, allselections were from early 20th century.

Phantom has stayed as true to its image asany corps and for many years it relied onlocal and alumni staff. It remains one of onlya few corps to have an all-female guard, withconsistently great execution and spectacularflag colors. The Regiment was one of the lasttop 12 corps to still play G-bugles, throughthe 2002 season. The corps was oftenaccused of peaking too early.

After many hair-splitting, heartbreakingsecond-place finishes over the years (1977,1978, 1979 and 1989), Phantom had to settlefor a tie with the Blue Devils even in the yearthey finally won, 1996.

Some fan favorites: Poet and PeasantOverture, Night on Bald Mountain, Pilgrim’sChorus from “Tannhauser,” “Spartacus,”Elsa’s Procession to the Cathedral, “Songsfrom the Winter Palace” (“Nutcracker” and“Swan Lake” ballets), Fire of Eternal Glory,Claire de Lune, Dvorak’s “New WorldSymphony” and Introduction toShostakovitch’s “Fourth Ballet Suite.”

Pioneer • 1961-“The wearing of

the green”This corps has a

commitment toplaying Irish music,making it difficultto come up withsubstantial musicalmaterial that fitsthe bill year afteryear. Their 1997“Riverdance”program was agood choice and“Oliver” was a goodcompromise for2002.

The corps wonthe DCI A-60championship in

1991, the division II championship in 1994and 1995, and has been a DCI open classsemifinalist since 1994.

A fan favorite: Gary Owen March.

Santa Clara Vanguard • 1967-“Tradition and innovation”

At their first major appearance in the 1969World Open, they placed ninth and stunnedeveryone with their horn sound and a drillthat came out of the corner rather than fromthe starting line. That show, and the NorthAmerican Nationals in 1970 -- where theywon and defeated corps that had probablynever heard of them -- previewed the futureperformance of Santa Clara and consequently,they became the most successful and

consistently excellent drum corps ofthe 1970s. Their drum line won 56consecutive shows in 1973 and 1974.

The Vanguard has been one of theleading innovators in drum corps,being the only one to have appeared inevery DCI finals since 1972. Theytook what was evolving to new levels,cleaning every detail until perfect.

The 1970-1974 Vanguard isconsidered to be the first “modern”drum corps and, in 1980, PeteEmmons and Santa Clara broughtdrum corps into the world of modern,asymmetrical drill, taking the worldby surprise. Under the direction ofFred Sanford, their drum line was amodel for other drum corps.

While being extremely entertaining andinnovative, Santa Clara is also a greatpreserver of tradition. Their creative colorguard won its greatest fame from introducingthe world to the “bottle dance,” which hasbecome one of two most famous moves indrum corps, along with Trooper’s “sunburst.”

Over the years, Santa Clara has beenconsidered the “corps with class,” an imagethat was created early-on by their founder/director and long-time music arranger, GailRoyer. They have long been renowned forbringing unexpected and captivating music tothe field with excellent musicianship.

The corps won three DCI championshipsplaying Young Person’s Guide toDrum Corps in 1973, 1974 and1981 and they are foreverassociated with “Fiddler on theRoof,” due to theirpresentations of selections fromthis musical in the early 1970s(1970-1973, 1975, revised in1992) and their revisiting of the“bottle dance” every so often.

The music of Aaron Coplandprovided a solid foundationthroughout the 1980s beforemoving on to the stunningRussian pageants and a brilliantadaptation of “Phantom of theOpera” in 1988 and 1989.

During the 1980s, everyVanguard show had somethinginnovative and surprising. Theychanged costumes while going

through a tunnel, used large moving props,disappearing maidens, a disappearingPhantom, then a disappearing corps.

In recent years, they have been noted formore contemporary programs, with excellentlow brass (euphoniums) and outstandingbaritone soloists. They also brought “rap” todrum corps in 2001.

Other things for which this corps isfamous include an exquisite sound, colorfulcymbal lines, state-of-the-art visual programswith flowing drills and terrific designs byMyron Rosander, diagonal spreads on thefield, a contra line with military mystique, asolid percussion program and their “electricwheelchair,” one of the most difficult of drumcadences.

Intensity, subtlety and emotion arecharacteristics closely identified with SantaClara, with programs culminating in animmense display of visual and musicalemotion that has become the signaturemoment of the corps. But they have beennoted for quiet endings as well.

Santa Clara has won six DCIchampionships, the most recent a tie with theBlue Devils in 1999, for their solid musicaland visual program, “Inventions for a NewMillenium,” one of the most intense finalsperformances ever seen and heard, withmusic of The Canyon and a superb andunique drill design by Rosander thatunraveled from the front right corner, ebbingand flowing across the field, leaving theviewer/listener “out of breath.”

Some fan favorites: Bottle Dance from“Fiddler on the Roof,” Fanfare and Allegro,“Appalachian Spring,” Festive Overture, GreatGate of Kiev, Lezghinka, selections from“Phantom of the Opera” and The Canyon.

Sky Ryders • 1960-1993“Somewhere Over the Rainbow”The Sky Ryders were known for excellent

horn lines with a warm low brass sound. As aresult of their “theatrical” productions of the1980s, initiated by Tommy Keenum,including “The Wizard of Oz,” “West SideStory” (with elegant pairs work) and “TheSound of Music,” the Sky Ryders became one

The Hutchinson, KS, Sky Ryders, 1988, at DCI Finals in Kansas City, MO (photo byOrlin Wagner from the collection of Drum Corps World).

The Milwaukee, WI, Pioneer,1993 (photo by Sid Unser fromthe collection of Drum CorpsWorld).

The Santa Clara, CA, Vanguard, 1982 (photo by Art Luebke from thecollection of Drum Corps World).

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of the most beloved corps of all time, with acomplete musical/visual package.

In 1989, they moved to a more seriousclassical repertoire with less success, thenreturned to a theatrical show in 1991(“Camelot”), their last year in DCI Finals.

Their highest DCI finish was ninth placein 1986, the second year of their “Wizard ofOz” program.

Some fan favorites: Somewhere Over theRainbow, Home on the Range, “The Wizardof Oz” and excerpts from “West Side Story.”

Spirit (formerly Spirit of Atlanta)1977-

“The southern belle”Formerly Spirit of Atlanta, this corps

literally jumped onto the drum corps scene in

1977. In 1978, the corps sky-rocketed tosixth place at DCI Finals and, in 1979 and1980, earned impressive fourth-place finishes.Early on, they were the one and only originalSouthern corps and the only corps to shakeconcrete with their trademark “wall of sound”in the late 1970s and early 1980s.

No serious drum corps fan will ever forgetthe 1979 and 1980 horn lines that played thewonderful arrangements of the late Jim Ott,and their outstanding soprano soloists in themid-1980s.

In the 1980s, they were raising the bar forcolor guards, with beautiful and emotionalpresentations. They had a well-roundedguard, excelling in all three equipment areas,with particularly effective rifle lines. Theywon high guard in 1985 and 1987 under thedirection of Sal Salas, who came on board in1983, and Scott Chandler, who joined in 1984and initiated male/female dancing pairs, whilealso incorporating real dance, props (like sailflags) and uniforms as visual enhancementsto their routines and clean flag work.

Spirit of Atlanta was a corps that was bestwhen they were “being themselves.”Audience and judge response was greatestwhen Spirit played southern-flavored music,backed by jazz interpretations. In the late1980s and early 1990s, they made an attemptto depart from their Southern image withproductions of “Petrouchka” and “InterstellarSuite” with a less than spectacular reception,dropping out of finals in 1989.

Although many of the participants in theSpirit of Atlanta corps came from Jacksonville

State University in Alabama, they becameofficially sponsored by that institution in2001, representing the sophisticated versionof that school’s marching band.

In 2002, the corps again became a DCIfinalist, finishing 11th.

Some fan favorites: Let It Be Me, Georgiaon My Mind, Sweet Georgia Brown, Old ManRiver, We Are the Reason, Blues in the Nightand “Porgy and Bess.”

Star of Indiana • 1985-1993“When You Wish Upon a Star”

Star came on strong in 1985, makingfinals the first year with their Disney showthat presented the first of many excellentmusical arrangements. They made amazingprogress each succeeding year from a design

and execution standpoint andsimultaneously continued to improvetheir scoring and placement each season,from their initial 10th-place finish, untilthey won the title in 1991 at Dallas, TX.

From the very beginning, there was agreat deal of resentment against Star fromother corps, largely due to their riches.But some drumcorps members alsoresented the“invasion of themarching band”image into drumcorps, since Star’sinitial membershipwas built on the

thriving marching bandactivity in Indiana.They felt Star wasgeneric, lacking insophistication, traditionand emotion -- “flashwithout substance.” Intheir second year, theyhired a “name” staff,largely from Garfield,including GeorgeZingali and Jim Prime.

This chameleoncorps was alwaysredefining itself,seemingly searching for their identity, like1985: Disney; 1986: “Starwars”; 1987: circus;1988: Gershwin’s “Porgy and Bess”; 1989:British; 1990: biblical; 1991: Roman; 1992:patriotic; and 1993: minimalist/contemporarymusic. Each program was carried out withthe highest level of excellence and perhaps“not having a style” or “a changing style” wastheir identity. They certainly hadphenomenal success with this pattern.

Truckloads of props materialized in theirsecond and third season presentations of“Star Wars” and “The Greatest Show onEarth,” respectively, before a more seriousperformance of “Porgy and Bess” in 1988,with a greatly reduced drum line. A majesticBritish style arrived in 1989 and, although itwas projected to last five years, it existed foronly one year.

In 1990, Star stretched audienceexpectations by playing “Belshazzar’s Feast,”

a show filled with musical and visual splendorand a drill that demanded running aroundthe field with abandon, proving that Starcould do it all -- be innovative, awe-inspiringand technically difficult.

In 1991, they won the championship with“Roman Images,” a true Roman pageantusing music of Ottorino Regphigi, withZingali’s “cross into cross” at the end of theshow being one of the most brilliant drillmoves in drum corps history. In 1992, theywere able to reach the fans with a patrioticshow and brilliant visual panels.

But in 1993, they presented a very abstractshow using music of Bartok and Barber, withvisuals built on the concept of a scalenetriangle, which was “too far out there” for theaverage fan who did not take kindly to thisshow. Star proved that minimalism can workon a field and produced a crowd-pleasingshow that didn’t always please the crowd.

After the unpleasant season in 1993, Starleft DCI to form “Brass Theatre,” touring withCanadian Brass. Later, the productionbecame a highly successful Broadwayshow called “BLAST!” in which they

presented manydrum corps musicaland visual favoriteson the stage and forwhich they won aTony Award createdespecially for theirnew genre. Theirdrum corpsreputation increasedgreatly after they left.

They pushed thelimits of creativity inthe activity, butwithin the rules, andwhen they rose to thetop of the activity,they didn’t try tochange DCI, butchanged, removingthemselves fromcompetition andfollowing their new“star.”

Star had superb musical arrangementsplayed by brilliant horn lines with supremelyoutstanding mellophone sections, interestingpits; excellent body movement; glitzyuniforms; and amazing drill, the culminationof which was Zingali’s “star to star,”

Star finished third at DCI in 1990 and1992, second in 1993 and won DCI in 1991.

A fan favorite: When You Wish Upon aStar.

Suncoast Sound • 1979-1995“Original music, symbolic messages

and a great horn line”One of the finest corps of the 1980s,

especially from a musical perspective,Suncoast Sound had one of the consistentlyfinest horn lines of the decade. Theyfrequently sported an original repertoire andwere never considered traditional, oftenpresenting shows with symbolic messages.

The Atlanta, GA, Spirit of Atlanta, July 2, 1995, at Clifton, NJ (photo byDale Eck from the collection of Drum Corps World).

Bloomington, IN, Star of Indiana, 1991, at DCI Prelims in Dallas, TX(photo by Orlin Wagner from the collection of Drum Corps World).

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Dr. Rosalie Sward has aBachelor of Arts degree fromKnox College and a Master ofMusic and Ph.D. fromNorthwestern University.

From 1984-1993, shewrote for Drum Corps Worldand was best known for her

analytical articles about each season’s top-12programs, titled “What to listen for in drumcorps this summer.”

Although Sward did not march in a drumcorps, her son and daughter marched in theMt. Prospect Imperials, the Geneseo Knightsand Phantom Regiment.

She is a music director in Skokie, IL,where her orchestra has won first place atstate contests for the past 11 years.

She and her husband, John, live inEvanston, IL.

In 1983, Suncoast placed in DCI Finals forthe first time, with a closer featuring signlanguage. Their 1984 “No More War” showwith a Vietnam wall was one of the mosttheatrical and emotional in drum corpshistory. In 1985 and 1989, Simple Song atSunrise was a very hummable tune, withmemorable visuals of flying seagulls and amoving seagull form on the field. Their 1986“Adventures inTime” may havebeen their bestshow with theirbest horn line.

In 1987, therewas anothertheatrical show,“My Fair Lady-OurWay,” and in 1988they presented oneof the mostcontroversial showsof all time, the“Symphonic Dancesfor theContemporaryChild.”

In 1989, their final season of open classcompetition, they placed in the top 12 for theseventh consecutive year, playing a new andimproved version of the first totally originaldrum corps composition, Dr. Robert Smith’s“Florida Suite,” which the corps had debutedin 1985. This was a quality corps and a greatloss to the activity.

They placed sixth in 1983 and 1985 andreached their highest place in 1986, fifth.

Some fan favorites: The Greatest Love ofAll and “Florida Suite.”

Troopers • 1957-“America’s Corps”

The Troopers first appeared in the Midwestin 1962 and presented their “sunburst,”which became one of the most loved andrespected maneuvers ever performed by anydrum corps. Over the years, the corps hadvarying success in drums and bugles, butthey were leaders with their color guard.Almost every new equipment handling ideaof the early years had its componentsfounded in the Trooper’s guard. They alsostarted the overwhelming trend to throwequipment at, over, to and/or around eachother in the early 1960s.

The Troopers set the standard formarching and maneuvering, leading the waytoward more cleanly executed shows, while

also being one of the most entertainingcorps of the 1960s, 1970s and beyond.

They were the first corps not to come offthe traditional starting line. They came outof the corner of the field and built fromthere. They were first corps to put curvedlines on the field (the circle), tour longdistances and have women in sections otherthan the color guard.

Over the years, this Jim Jones-foundedcorps has represented the best in drumcorps. Through both up and down years, theTroopers have remained a huge crowd

favorite and have always been thought of as amost exemplary group of young people.Their commitment to playing music with awestern theme enhances their tradition, butalso limits them to some degree. Theirhighest DCI finish was second place in 1973.

Some fan favorites: Ghost Riders in theSky, Hang ’em High, Battle Hymn, How theWest Was Won and Red Pony.

27th Lancers 1967-1986

“Color guard supreme”The 27th Lancers always

performed an excellentmusical show, but theirhighest caption was normallygeneral effect. Theirbeautifully conceivedprograms were of an unusuallevel of difficulty and typically27th was a “slow starting”corps for that reason.

As the earliest benefactorsof the extraordinary designtalents of George Zingali, the

27th Lancers were visual innovators, pushingthe envelope of -- and previewing the futureof -- visual design under Zingali and RalphPace in the 1970s, with collapsible boxes andfronts or arcs which came out of nowhere.They were the first corps from the East tofinish in the top three at DCI and their guardhas been cited as one of the best ever.

The level of ingenuity in creating thecolor guard show was a delight to the fans,but the superior and energetic performanceof the guard members also exhausted theviewer. Among the innovations introducedwere double flags, horizontal rifle spins and amodern dance concept within the weaponsline. This was a real “show corps,” in thetruest Eastern tradition.

The equipment work was fast and furious;most of thesongs in theirhey-dayended at amuch fasterpace than alot of theirpeers. Therewas an

“in-your-face” type of ending to every songthat “went on forever.” Their cadence wasnot slow by any means.

Having taken second place at DCI in 1980,the year they performed in the openingceremony of the Lake Placid WinterOlympics, 27th is considered by many to bethe best corps never to have won the DCIchampionship. The departure of the 27thLancers after 1986 was a sad one for theactivity. No one played Danny Boy like 2-7!

Some fan favorites: Danny Boy, CrownImperial, Can Can, “English Folk SongSuite” and On the 20th Century.

Velvet Knights • 1964-1996“Clown princes of drum corps”The Velvet Knights were the rightful

“heirs” of the Bridgemen, largely because ofthe Bobby Hoffman link. They were often thecrowd favorite at any performance, usuallybecause of the laid-back humor they exuded.

Underlying the superficial humor was avery talenteddrum corps,balancingsilliness andseriousnesseffectively andshowing justhow much funcould be hadon the drumcorps field.

Fans willnever forgetthe red tennisshoes, the“Jaws” themethat warned of the shark, the EnergizerBunny, Godzilla, the opera diva (who wasdevoured by the shark), the “sex cymbals” andthe “Magical Mystery Tours” (there werefour).

This corps was an eight-time DCI finalistwith their highest finish being a tie forseventh place with Star of Indiana in 1987.Their last year of competition was 1996.

A fan favorite: The “Magical MysteryTours.”

The Pinnelas Park, FL, Suncoast Sound, 1987, at DCI Finals inMadison, WI (photo by Orlin Wagner from the collection of DrumCorps World).

The Santa Ana, CA, Velvet Knights,1992 (photo by Sid Unser from thecollection of Drum Corps World).

The Casper, WY, Troopers, 1974 (photo by Jane Boulenfrom the collection of Drum Corps World).

The Revere, MA,27th Lancers, 1977(photo by ArtLuebke from thecollection of DrumCorps World).

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