Halftime Magazine March/April 2012 by Halftime Magazine

March/April 2012

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maraderie. Confidence. Character. Ca of the Disney These are the three tenets The confidence Performing Arts program. of stages. The to perform on the grandest ct your chosen character required to perfe that’s essential craft. And the camaraderie And when your to come together as a team. y Performing group takes part in a Disne tiv p or fes al– these are the performance or a worksho a in t’s tha er eth wh m– lusive group of artists Arts progra ne, becoming part of an exc refi d an n rpe sha rn, lea l means to earn your skills they wil experience. This is what it e tim ife a-l inceon red ir Ears for the bonded by this sha has what it takes to earn the up gro r you nk thi you if Ears For The Arts. So . nner or call 1-866-814-6610 Arts, contact your travel pla

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NEVER BE THE CROWD Scan the QR Code with your Smartphone or visit www.quantummarching.com/HalftimeMarching to see more of Northcoast Academy

Volume 6, Issue 2 March/April 2012 ISSN 1939-6171 ®

Publisher & Editor-in-Chief Christine Ngeo Katzman christine@halftimemag.com (310) 594-0050

Art Director Jana Rade, impact studios

Assistant Editor/Web Editor Elizabeth Geli

Editorial Interns Jeremy Chen and Lydia Ness

Marketing Intern Jonathan Harrison

COVER PHOTO Photo by Lionel Harris/Urban Visual Courtesy of Flowers Communications Group Copyright American Honda Motor Co.

Contributing Writers Lane Armey, Chris Casteel, Mary Karen Clardy, Haley Greenwald-Gonella, Matt Jones, Chase Sanborn, Lindsay Walsh

Contributing Photographers Terrance Cobb, Jen Edwards, Lionel Harris/Urban Visual, Lee Lafleur, Ken Martinson/Marching.com, SGT Kevin Robinson, Stephanie Waisler Rubin, Dan Scafidi, John Simon, Sid and Linda Unser

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

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 now only $1 per person per year with a minimum of 25 copies sent to the same address. Cover price is $4.95. Send subscription orders to: Halftime Magazine P.O. Box 15247 North Hollywood, CA 91615 Halftime Magazine is published by Muse Media, LLC P.O. Box 428738, Cincinnati, OH 45242 Phone: 310-594-0050 Fax: 310-390-5351 Website: www.halftimemag.com Printed by Royle Printing Company in Sun Prairie, Wis. 4

2012

is a milestone year in the marching arts as many organizations in the activity celebrate major anniversaries. In this issue, we applaud the achievements of WGI Sport of the Arts, Drum Corps International (DCI), the Macy’s Thanksgiving Day Parade and the U.S. Army All-American Marching Band. Here’s a quick quiz for all of you marching arts trivia buffs. Who introduced the percussion division to WGI? What corps did Dan Acheson march with in the very first DCI championship? What movie brought the Macy’s parade into the national limelight? And who is the commander of the U.S. Army Field Band? You will find these answers as well as other historical tidbits in the article “Happy Anniversary, Sport of the Arts!” on page 20. We also highlight the 10th anniversary of the Honda Battle of the Bands (page 14), the 30th season of The Second Time Arounders (page 34) and those who participated in the 70th anniversary of Pearl Harbor (page 8). So join us in applauding these groups and their participants. Have fun with the parties. Then relive your memories by posting your stories on our Facebook page. Halftime Magazine has also reached a milestone with its 5th anniversary this year. In 2007, we started with a vision of providing education, entertainment and inspiration to marching arts members throughout the country. With subscribers in almost every state, nearly 2,000 Facebook fans and partnerships with a variety of marching circuits, we’ve definitely come a long way in achieving our dream. What has been your favorite article? What has been a lesson you have learned? What’s an idea you have implemented? Or what is an ensemble you have followed or joined because of Halftime Magazine? Please let us know via email, mail, Face-

book or twitter how we have made a difference in your life or in your ensemble. We’d also love to hear your thoughts on how to make the magazine even better. As part of our anniversary year, we will be offering $1 copies of every back issue at our booth during WGI World Championships, DCI World Championships and Bands of America Grand Nationals. We will also be compiling sectionals booklets filled with five years of columns for winds, brass, guard and percussion. And finally, we will be hosting a live event on the campus of Eastern Kentucky University. Also, as an ongoing effort to make Halftime Magazine affordable to every marching arts member, group subscriptions will continue to be offered for $1 per person per year. Have your ensemble subscribe today! Halftime Magazine continues to bring you insightful information and inspirational stories six times a year because every band, every corps, every guard and every drum line has a story. Musically Yours, Christine Ngeo Katzman Founder, Publisher and Editor-in-Chief

Halftime Magazine is proud to partner with the following organizations:

10 Years of Honda. . . . . . . . . . . . . 14 Nearly 60,000 fans filled the Georgia Dome to celebrate the 10th anniversary of the Honda Battle of the Bands. The showcase featured eight fan favorite bands as well as new elements such as a mass drum line performance. By Christine Ngeo Katzman

Photo courtesy of WGI Sport of the Arts.

Features Happy Anniversary, Sport of the Arts! . . . . . . . . . . . . 20 It’s proven time and time again that the value of music education and pageantry is incomparable to anything else. Even though programs around the country suffer from budget cuts and unclear futures, several organizations celebrate marked anniversaries with optimistic views on what is still to come. WGI Sport of the Arts, Drum Corps International, the Macy’s Thanksgiving Day Parade and the U.S. Army All-American Marching Band give students and young adults opportunities to pursue the performing arts with excellence and look forward to doing so for many more years. By Lydia Ness

Music’s Power to Heal. . . . . . . . . . 29 Performing music is good for the mind, body and soul. Organizations are harnessing this power to change lives all around the world. By Elizabeth Geli

Departments

20 Web Exclusives

Publisher’s Letter. . . . . . . . . . . . . . . 4 Need more marching band Noteworthy. . . . . . . . . . . . . . . . . . . . 6 material? Read online-only articles at Stolen Tubas in SoCal; USBands Creates All-Star Lineup; Super Sunday for Marching Bands; Top Marching Moments of 2011; Mass Band Commemorates Pearl Harbor

Sectionals. . . . . . . . . . . . . . . . . . . . . 10 Staying Healthy; Time Well Spent; Working Hard; Emulation Learning

Gear Up. . . . . . . . . . . . . . . . . . . . . . . . Premier Percussion; The pBone Regionals. . . . . . . . . . . . . . . . . . . . . . Calendar of events organized by region Direct From. . . . . . . . . . . . . . . . . . . . The Second Time Arounders Behind the Baton. . . . . . . . . . . . . . . The Accidental Drum Major Fitness to the Max. . . . . . . . . . . . . Good Vibrations For Fun. . . . . . . . . . . . . . . . . . . . . . . . Crossword: Get Well Soon

12 13 34 36 38 40

http://halftimemag.com/articles/web-exclusives/index.html

Next Issue • WGI Winners • Joplin: One Year Later • Use of Social Networking • And More …

By Elizabeth Geli

Stolen Tubas In SoCal High school tuba players around Southern California have been unfairly silenced by a strange abundance of recent band room burglaries— where tubas and sousaphones are the only things stolen. “We were floored when we realized the tubas were stolen because we all realize how much it costs to get it replaced,” says Ruben Gonzalez of South Gate High School. “They only took tubas.” South Gate has been hit twice, losing five tubas total. The thieves broke in using bolt cutters and crowbars, in spite of a fully-functioning alarm system. After grabbing the tubas, they ignored all of the other instruments and even computers. “We’re shocked and saddened,” Gonzalez says. “We have five tuba students, and now we only have one sousaphone and one concert tuba. They have to trade off.” Police and band directors suspect that the trend is due to the rising popularity of “banda,” a brass-based form of traditional Mexican music with similarities to German polka. Banda heavily relies on the tuba sound. These groups often perform at parties for large sums of money. Another theory held by some is that people are stealing the tubas for scrap metal. In under a year, more than 23 tubas have been stolen from at least eight different schools. At first, thefts were contained in Southeastern Los Angeles, where both budgets and campus security are low, but have since spread out to Orange County and even the affluent coastal community of Manhattan Beach. Despite the two break-ins, Gonzalez and his students can do nothing but repair the doors and lock them. The Los Angeles Unified School District alerted schools of the trend via email, but no other security measures have been taken. “There’s no way the high school has an extra $30,000 for tubas; budgets are as tight as it is,” Gonzalez says. Thankfully, a few local businesses have agreed to sponsor a new tuba purchase for South Gate, but if the thefts continue around Southern California, there may be a rather bass-less marching season ahead this fall. 6

USBands Creates All-Star Lineup With a new name, a new webinar series and a new All-Star Marching Band opportunity, USBands presented by the Cadets (formerly USSBA) is off to an exciting 2012. Every other Wednesday through June, directors and instructors can gain valuable insights from Cadets staff members during one-hour interactive webinars. “We plan to provide an animated presentation with examples of what to do—and what not to do,” said George Hopkins, CEO of YEA!, parent organization of The Cadets and founder of USBands, in a press release. “Be prepared to learn more in our action-packed hour than in a month of marching band methods classes.” Each session is $10, and participants can register online at www.usbands.org. Webinars are available streaming on demand for two weeks after they air. Topics have or will include show programming with Hopkins, brass technique with Gino Cipriani, battery percussion with Colin McNutt, front ensemble with Iain Moyer, amplification and electronics with Gerry Miller, visual design with Jeff Sacktig, color guard design and costuming with Greg Lagola and Bruno Zuccala, and more. “We’ve seen hundreds of examples either in our own program or the marching bands we’ve evaluated, where things have gone wrong or at least have had unintentional outcomes,” Hopkins said. “What’s more important than the lessons learned winning World Championships are the lessons we learned when we did not.” For the first time ever, USBands will put together an All-Star Marching Band with 300 of their 70,000 performers to march in the nationally televised Disney Parks Christmas Day Parade. Unlike other all-star groups, this one is based on peer and parent nomination submitted on www.facebook.com/USBands. “We have an immense pool of talent from which to draw our members for the All-Star Band,” said Melissa Barlow, project manager for the USBands All-Star Band in a press release. “By asking peers and parents to nominate the students who excel in their band, we’re putting the selection process in the hand of those who know the performers best.” The All-Star Band will spend three days and four nights at the Walt Disney World Resort, filled with clinics, rehearsals, an awards banquet and free time in the Disney theme parks. Special travel packages for parents and families as well as chaperone opportunities are also available. For more information on nominations, registration and fees, visit the website www.USBandsAll-StarBand.org.

Super Sunday for Marching Bands

This year, the city of Indianapolis—marching band’s de facto U.S. headquarters—also played host to the National Football League’s biggest day: Super Bowl Sunday. The day celebrated the marching arts alongside the football festivities. From pregame to postgame, marching groups helped to entertain the Super Bowl crowds. Indiana University’s band gave an untelevised pregame performance in Lucas Oil Stadium as the fans arrived. Next up, Kelly Clarkson sang the National Anthem, backed by an all-star snare line made up of drum instructors and directors from Indiana’s best high school marching bands and led by Josh Torres, director of percussion at Center Grove High School.

“We got to be in the stadium as the teams came out; we were right there on the 50-yard line,” Torres says. “We were just blown away with Kelly Clarkson’s arrangement and performance. It was so neat to be part of such an amazing performance, and I think that will go down as one of the neatest ‘Star Spangled Banners’ of all time.” In addition, Torres assembled a drum line to accompany Madonna’s halftime performance, which also featured M.I.A., LMFAO, Nicki Minaj and Cee Lo Green. The 100-member drum line included students, staff and alumni from four Indiana high schools: Avon, Center Grove, Fishers and Franklin Central. “I think my favorite memory was just watching the students break down the barriers that existed between the four schools,” Torres says. “They’re such fierce competitors, and it’s not often that they get to know each other.” The drum line and “drum major” Cee Lo Green wore custom “Madonna Marching Band” uniforms made by DeMoulin. Madonna’s team worked with Jon Vanderkolff of “Blast!” for the band’s staging amongst the 600-person halftime cast. After the game, the Ball State University Band and its Charlie Cardinal mascot appeared on “Late Night With Jimmy Fallon.” The various band performances drew rave reviews from fans of the marching arts. “We got some pretty sweet camera time and a lot of positive feedback from people who jumped out of their seats screaming,” Torres says. “People were excited to see that our activity was represented in the halftime performance. It doesn’t happen often, and people were just really excited that the students got to have that experience.”

It was the year of the spoiler in championship events for the marching arts, as winning streaks came to an end. Halftime Magazine compiled the “Top Five Marching Moments of 2011” based on reader suggestions. Do you agree or disagree? Continue the discussion on www.halftimemag.com. 5. 9/11 Tributes: Marching groups paid tribute to 9/11 during this 10th anniversary year. The Madison Scouts and the Gibson County High School from Dyer, Tenn., dedicated their entire seasons. On Sept. 11, a mass band (with 21 U.S. high schools and one group from the Netherlands) convened in Times Square. 4. “band-Ing Together for Joplin”: Music communities led various efforts to aid the Joplin (Mo.) Eagle Pride Band as it recovered from a tornado in May. Tens of thousands of dollars and many product/ instrument donations helped the band get back on its feet. 3. Buccaneers Reign Gives Way to Minnesota Brass: In Drum Corps Associates (DCA) competition, the Minnesota Brass took the Open Class gold after three years in second place, ending the unprecedented six-year streak of the Reading Buccaneers. 2. Homestead and Broken Arrow End Avon Streaks: Homestead High School from Ft. Wayne, Ind., took first place at the Indiana State School Music Association’s Class A championship for the first time since 1996, preventing Avon High School from earning a three-peat. A few weeks later, Broken Arrow (Okla.) High School broke Avon’s three-year streak at Bands of America Grand Nationals. 1. The Cadets Take Down The Blue Devils: A new championship format, the testing of a new judging system and the Tour of Champions led to an exciting Drum Corps International season. In the end, The Cadets beat The Blue Devils, preventing a World Class three-peat. In Open Class, Blue Devils B did get an elusive three-peat with the Oregon Crusaders not far behind.

March/April 2012 7

Mass Band Commemorates Pearl Harbor

Photo courtesy of EMI Hawaii.

Bands from around the country gathered to commemorate the 70th anniversary of the attack on Pearl Harbor on Dec. 7, 2011. The idea of a mass band came from Allen Bodenlos, age 91, who is a Pearl Harbor survivor and veteran Army bugler. “This is one of the last times there will be a significant amount of survivors left,” says Justin Shuler of Group Travel Network, one of the event organizers. “I know, for the survivors, it was a very tearful commemoration. They were very thankful to all these students that took the time to commemorate such a historic event in our country’s history.” Bands hailing from Alaska to Florida and ranging from high schools to adult groups made the trip to Hawaii to participate in the 600-member group, which played during a 45-minute ceremony led by Bodenlos. Twelve other bands from around the country participated in a commemorative parade the same day. “The whole trip and the experience of being in Hawaii for the 70th anniversary, you can’t take that away from anyone, and you can’t learn that in a book,” says Kenny Broussard, band director at Erath (La.) High School. “It was so incredible just to be there and show the kids how important our military is to our country.” Many of the bands made a full trip out of the opportunity, spending a week in Hawaii and visiting beaches and other attractions such as Diamond Head. All the bands participated in a traditional Hawaiian luau and toured Pearl Harbor and the USS Missouri. “A few months before [the trip], the bands were provided the music that they would be performing; they pre-learned what they’d be playing,” Shuler says. “On the island there was a day set aside for all the bands to come together and rehearse. It was interesting to hear them go from the disorganized first note to a beautiful piece of music played by 600 musicians.” About half of Broussard’s 560-member band fundraised and went on the trip. In order for them to be allowed to skip school, students had to take extra lessons about Pearl Harbor’s history. In the past, the band has traveled around the country and even played in the Bahamas. “I just think this trip was the most incredible thing we’ve done to date; it’s something that they’re going to be talking about forever,” Broussard says. “The kids and parents wanted to go, and they made it happen. It was once in a lifetime.” 8

Staying Healthy By Mary Karen Clardy

With marching season still a few months away, now’s a great time to assess past accomplishments and plan for future successes. Since marching is an outdoor activity, weather conditions from the hot summer months to the cold temperatures in late fall affect body performance, and rapid changes often happen during rehearsals or competitions. Prevention is the best approach to staying healthy, so follow these tips for a great marching season, both on and off the field! Energy is Essential. For energy throughout the day, remember the importance of good rest, regular meals and lots of water. When schedules are busy, it’s easy to overlook mealtimes in favor of snacks, so keep fruit, nuts or protein bars handy. As an athletic activity, marching is a physical workout. The body sweats to prevent overheating, so replace fluids constantly by carrying a sports bottle of water or Gatorade on the field. Release Stress Regularly. Long rehearsals contribute to body tension. Take deep breaths during fast technical passages in complex marching drill. During breaks, stretch arms and hands to release muscle tension. Posture and Alignment. Good posture is essential for a healthy body, so check body alignment in a mirror to avoid a curving spine, slumping shoulders or tilting the head forward. Avoid raising the shoulders while marching because this posture builds tension and contributes to fatigue in long rehearsals. Mechanical Maintenance. Woodwind instruments are complex machines, with intricate moving parts: a head cork to regulate intonation and seal the headjoint; padded keys that are susceptible to temperature and humidity changes; and corks throughout the instrument to prevent noise, buffer keys and maintain key height for intonation. With outdoor weather conditions affecting instruments, mechanical maintenance is essential for great technique and healthy bodies because when keys leak or the head cork needs to be replaced, body tension results. Good luck for a successful, healthy marching season this year!

About the Author Mary Karen Clardy, professor of flute at the University of North Texas in Denton, appears as a soloist, chamber artist and teacher throughout the United States, Canada, Mexico, Europe, Asia and South America. A renowned author, Mary has published more than 10 books from European American Music, Leduc, Schott and Universal Edition. Her students are consistent prizewinners in international competitions and occupy prominent orchestral and faculty positions throughout the world. Visit www.mkclardy.com.

brass

winds

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

Time Well Spent By Chase Sanborn This month’s column is sparked by a question about practicing. Keep the questions coming!

Question: Should a brass player strive to practice the same number of hours as a saxophonist? Answer: Brass players will never be able to match a saxophonist hour-for-hour. When a reed gets worn out, there are more in the box. Like the Energizer Bunny, saxophone players can (and often do) keep going and going. When your lips get worn out, there is nothing to be done but let them rest. In fact, playing too much can be more detrimental than not playing enough. The lips are like the quarterback on a football team. They have a vital role to play, and they cannot do the job effectively if they are tired. Don’t practice to the point of exhaustion. Approach your sessions intelligently and strategically, with the goal of setting yourself up to feel good the next time you pick up the horn. Play until the chops feel well worked, then let them rest and rebuild. You can increase the length of time you practice by injecting more rest into the routine; most players don’t rest enough. Balance the time that you play with an equal amount of rest and increase the length of the rest periods as you go. Make use of the rest time by fingering scales or patterns; work your fingers and your brain while your lips take a break. When working on a piece of music, finger each passage at least once for every time you play. Don’t ask your lips to perform something your fingers have not mastered. When your lips start to feel tired or the sound deteriorates, it’s time to put the horn down. This doesn’t necessarily mean the practice session has to end. You could write some music, transcribe a solo or sit down at the piano. Playing a brass instrument is a means to an end: making music. There are many aspects of being a musician beyond buzzing the lips. In the end, it’s not the total number of hours you put in; it’s what you do with the time.

About the Author Chase Sanborn is a jazz trumpet player based in Toronto. He is on the faculty at the University of Toronto and is the author of “Brass Tactics,” “Jazz Tactics,” “Tuning Tactics” and “Music Business Tactics.” Chase is a Yamaha Artist. Visit his website at www.chasesanborn.com. Questions about all things brassrelated can be sent to info@chasesanborn.com.

By Lane Armey One of the most useful things I’ve been told from my teachers is that if you are going to do something, do something right. Yea, it’s cheesy—but as I was completing a marathon 19 hours of rehearsal this weekend, it came to mind as being oh so relevant in

this activity. How much time do you spend practicing exercises and music? Fundamentals and technique? Marching and playing? And you spend most of those countless hours because you love drumming and you love the marching activity. But you also do it because you want to be good. But that does not mean that the more time you spend, the better you get. It’s all about practicing and rehearsing smarter. If it’s worth doing, it’s worth doing right. The next time you leave rehearsal with a list of things to improve, think about how you can practice the right way. Here are a few tips: Walk Before You Run. That applies to everyone across the percussion section. You have to play rudiments well before putting them into challenging music. You have to play the beats slow in order to play them fast. You have to play quad parts on one drum in order to play them around the drums. You have to master good cymbal crash technique before you can expect to play an exercise well. Practice the Important Stuff. Wow, this one is so hard for drummers. Yea, working on the coolest “next great rudiment” is a lot of fun, but is it helping the girls and guys in your drum line get better? Always keep pushing your rudiment vocabulary, but when you have a limited amount of time, I bet anything you’ll see more benefit from working on tap heights. Get More Feedback. Practice with a friend, or in a crunch, in front of a mirror. It will help keep you honest and highlight mistakes. And the sooner you hone in on the important things that are sticking out, the more effective your practice will be. If you are going to commit to practicing, commit to practicing effectively.

About the Author Lane Armey is the battery percussion coordinator for Homestead High School in Cupertino, Calif. During the past 10 years, he has worked with various groups including Northwestern University and the Bluecoats Drum and Bugle Corps.

guard

percussion

Working Hard

Emulation Learning By Chris Casteel

Well, we have come to the end of yet another fabulous winter guard season. I write this “Sectional” with the knowledge that this issue of Halftime Magazine will be distributed shortly before and during WGI championships in Dayton, Ohio. Really, there is not a more fitting manner to end this season of creativity, expression, skill and artistry than with a championship celebration. To all performers in this “Sport of the Arts”: Thank you for working so very hard, entertaining beyond expectation and continually mesmerizing us this season. It truly has been another unforgettable season of which you have played a very large part. Being a true performer is being aware of your limits yet pushing beyond them to achieve the unimaginable. I think that we all have that one performer that we idolize in our activity but perhaps feel we can never achieve their heights. To that, I say … Don’t be afraid to be amazing.—Andy Offutt Irwin Since we are at the end of the season, now is the perfect time to invest in future seasons. In terms of fostering your craft as a performer, one of the best ways to do this is to study and emulate successful performers whom you admire in our activity. If you will be at WGI championships, watch as many performances as time permits. Afterward, take advantage of some of the championship DVDs available for purchase that can become your “go-to guide.” The videos are a powerful tool to be able to study your favorite performers over and over again in an effort to glean what it is that they do best and how they do it; this is called emulation/imitation learning. Yet another benefit: If you own the DVD, your efforts can be done in the privacy of your own home (no one to judge you but the mirror). By the time you return for the next season of color guard, you can have the presence, energy, communication and passion of performance like never before. And just so you know … this is not copying! Consider some well-know artists that have done this with great success: Madonna and Lady Gaga or Elton John and Adam Lambert. After all, imitation is the sincerest form of flattery.

About the Author Chris Casteel has been involved in the color guard activity since 1981 as a performer and an instructor. She has a master’s degree in education. She has instructed several medaling guards for the Winter Guard Association of Southern California (WGASC). Currently, Chris is an adjudicator for the Southern California School Band and Orchestra Association and the WGASC as well as a guest adjudicator for many other circuits. She also holds the position of education coordinator for the WGASC.

March/April 2012 11

By Lydia Ness

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

The pBone

Premier Percussion

remier percussion is celebrating its 90th anniversary this year—and after being “absent” from the United States for several years—the company is now returning to the U.S. market through its new importer Marching USA. According to Mathew Lunsford, dealer relations for Marching USA, British corps brought the Premier sound to the United States during the 1980s. “The company began making marching drums early in its history and continues, to this day, to define the look and sound that others follow,” Lunsford says. Many educators today are familiar with the Premier sound because they have marched or taught Premier lines over the years. In the early 2000s, Premier U.S.A.—the U.S. branch of the British parent company—was closed and distribution taken over by Musicorps. Since then, Premier has bounced around with a number of different distributors. As a result, the visibility of Premier in the U.S. market during this time has drastically reduced. “The company continued to develop innovative drums and accessories and provide their incredible musical instruments to marching groups in more than 70 countries around the world while continuing to look for the right route for a strong return to the U.S. market.” Lunsford says. Marching USA is now the sole importer of Premier marching, educational and orchestral instruments into North America. The company also distributes a line of

he pBone is a plastic trombone that is very inexpensive and comes in a variety of colors (yellow, green, red and blue). The instrument, distributed by Conn-Selmer Inc., was initially developed in the United Kingdom to teach kids basic embouchure technique and pitch reference, but now it has extended from classrooms to marching bands and television. “The designers spent a lot of time working on the invention because if it was something that was to be used

field frames and the Aluphone, being used by worldclass groups like Matrix Indoor Percussion Ensemble, the Glassmen Drum and Bugle Corps and the Santa Clara Vanguard Drum and Bugle Corps. The Aluphone, a front ensemble instrument, produces sounds normally associated with the vibraphone, the gamelan and the Tibetan singing bowl. Visit www.MarchingUSA.com for more information. in the classroom, it couldn’t be marketed as a toy; it had to play well,” says Tim Caton, communications director at Conn-Selmer. Caton says the trombone sounds great and is used by several artists as a second horn. Artists enjoy the different colors of the pBone. Tom “Bones” Malone, trombonist on the “Late Show With David Letterman,” has a pBone in all four colors and wears a matching blazer when he’s on TV. International trombone legend Jiggs Whigham became involved in the development of the pBone and liked it so much that he became a partial owner in the company. Whigham has been a long-time artist for Conn-Selmer and brought the instrument to the company’s attention. Last June, Conn-Selmer signed the global distribution rights for the pBone. Marching bands are starting to invest in pBones and so are general music classrooms, where it was originally intended, because of its $149 cost and durability. “For a student starting out, if they drop the slide, if they push it out too far, they are not going to see the repair charges you would typically see on a brass trombone,” Caton says. Visit www.jiggspbone.com for more information.

Major Events by Region West WGI Guard Mar 3—Gilbert, AZ—Phoenix Regional Mar 10—Broomfield, CO—Denver Regional Mar 17-18—Union City, CA—Union City Regional Mar 24-25—San Diego, CA—Western Color Guard Championship

WGI Percussion Mar 3—Gilbert, AZ—Phoenix Regional Mar 10—Modesto, CA—Ceres Regional Mar 17—Northglenn, CO—Denver Regional Mar 24-25—San Bernardino, CA—Western Percussion Championship

Midwest WGI Guard Mar 10-11—Cincinnati, OH—Cincinnati Regional Mar 24-25—Muncie, IN—Midwestern Color Guard Championship Apr 12-14—Dayton, OH—Color Guard World Championships

WGI Percussion Mar 3—Kettering, OH—Dayton Regional Mar 24—Buffalo, MN—Minneapolis Regional Apr 19-21—Dayton, OH—Percussion World Championships

Tradeshows Mar 16-17—Troy, MI—Michigan MEA Mar 22-24—Bismarck, ND—North Dakota MEA Mar 29-31—St. Louis, MO—NAfME Biennial Music Educators National Conference

Northeast WGI Guard Mar 10—Salem, MA—Salem Regional Mar 17—North Huntingdon, PA—Pittsburgh Regional Mar 24-25—Monmouth Junction, NJ—South Brunswick Regional

WGI Percussion Mar 3—Trumbull, CT—Trumbull Regional Mar 24—Norristown, PA—Norristown Regional

USSBA Indoor Mar 3—Collegeville, PA—Perkiomen Valley HS Mar 10—LaGrangeville, NY—Arlington HS Mar 10—Pompton Plains, NJ—Pequannock Township HS Mar 17—Bridgewater, NJ—BridgewaterRaritan HS Mar 17—Fair Lawn, NJ—Fair Lawn HS Mar 17—Upper Darby, PA—Upper Darby HS Mar 17—Stamford, CT—Westhill HS Mar 24—Stratford, CT—Bunnell HS Mar 31—Old Bridge, NJ—Old Bridge HS Apr 14—Trenton, NJ—USSBA Indoor Championships

Tournament of Bands Mar 2-3—Wilmington, DE—Imperial Dynasty Jazz Show at John Dickinson HS Mar 3—Windber, PA—Windber HS Mar 3—Kutztown, PA—Kutztown HS Mar 3—Rogersford, PA—Springford HS Mar 3—Fort Meade, MD—Chesapeake Percussion at Meade Sr HS Mar 10—McKeesport, PA—McKeesport HS Mar 10—Tyrone, PA—Tyrone HS Mar 10—Deptford, NJ—Deptford HS Mar 10—Quakertown, PA—Quakertown HS Mar 10—Radnor, PA—Radnor HS Mar 10—Wilmington DE—Cab Calloway HS Mar 10—Schuylkill Haven, PA—Blue Mountain HS Mar 10—Greencastle, PA—Greencastle Antrim HS Mar 16—Royersford, PA—Spring-Ford HS Jazz Mar 17—Landisville, PA—Hempfield HS Mar 17—Pittsburgh, PA—Carrick Mar 17—Jersey Shore, PA—Jershey Shore-JAZZ Mar 17—Mertztown, PA—Brandywine Heights Indoor Mar 17—Huntingdon, PA—Huntingdon HS Mar 17—West Grove, PA—Avon Grove HS Mar 17—Runnemede, NJ—Triton HS

Mar 17—Mill Hall, PA—Central Mountain HS Mar 17—Horsham, PA—Hatboro Horsham HS Mar 24—Sidman, PA—Forest Hills HS Mar 24—Whitehall, PA—Whitehall HS Mar 24—Elizabeth, PA—Elizabeth Forward Mar 24—Lancaster, PA—Lampeter Strasburg HS Mar 24—Johnstown, PA—Westmont Hilltop HS Mar 30—New Castle, DE—William Penn HS Jazz at Gunning Bedford Middle School Mar 31—Birdsboro, PA—Daniel Boone Mar 31—Pemberton, NJ—Pemberton HS Mar 31—Pittsburgh, PA—Fast Forward at Brashear HS Mar 31—DuBois, PA—DuBois HS Mar 31—Wilmington, DE—William Penn HS

Tradeshows Mar 1-3—Boston, MA—Massachusetts MEA Apr 12-14—Hartford, CT—Connecticut MEA Apr 19-21—Lancaster, PA—Pennsylvania MEA

South WGI Guard Mar 3—Houston, TX—Houston Regional Mar 3—Cantonment, FL—Pensacola Regional Mar 3-4—Sharpsburg, GA—Atlanta Regional Mar 17—Powhatan, VA—Richmond Regional Mar 17-18—Garland, TX—Southwestern Color Guard Championship Mar 24-25—Orlando, FL—Southeastern Color Guard Championship

WGI Percussion Mar 3—Roebuck, SC—Spartanburg Regional Mar 10—Boca Raton, FL—Boca Raton Regional Mar 10—Hattiesburg, MS—Hattiesburg Regional Mar 10—Powhatan, VA—Richmond Regional Mar 17-18—Bowling Green, KY—Mid-South Percussion Championship

Tradeshows Mar 15-17—Morgantown, WV—West Virginia MEA Apr 11-14—Chattanooga, TN—Tennessee MEA March/April 2012 13

By Christine Ngeo Katzman

Y ears of

Honda

Just One of Dem Days: Monica, Grammy Award-winning singer and Georgia native, performed multiple hits during the “halftime” show. Photo by Lionel Harris/Urban Visual.

Nearly 60,000 fans filled the Georgia Dome to celebrate the 10th anniversary of the Honda Battle of the Bands. The showcase featured eight fan favorite bands as well as new elements such as a mass drum line performance.

ans and participants from Historically Black College and University (HBCU) marching bands had a reason to celebrate this past January as they gathered together at the Georgia Dome for the annual Honda Battle of the Bands (HBOB). The 10th anniversary of the HBOB included new components such as a drum line showcase and car giveaway. The event came on the heels of a major hazing scandal with the death of Robert D. Champion, Jr., a Florida A&M University drum major in November. The organizers started the show with a moment of silence, followed by “Lift Every Voice and Sing” (“The Negro National Anthem”) and “The Star Spangled Banner,” sung by local female trio Noralynn Rowe. “We used our showcase to highlight all the positives of HBCU marching bands,” says John Morris, project manager for the Honda Battle of the Bands. “It was also used as a healing process for the HBCU community.” American Honda Motor Co., with several car factories in the south, began an affiliation with the HBCU community 23 years ago with a high school academic competition. Executives exposed to the HBCU band culture had a desire “to bring these students together to showcase their talent and skills” and “to give back to the music education programs,” says Erika Braxton-White, corporate affairs. American Honda gives each of the HBOB performing bands $20,000 for their music programs, with a total of nearly $2 million in donations during the 10 years. The eight 2012 participating bands were: Albany State, Bethune-Cookman, Jackson State, Prairie View A&M, South Carolina State, Tennessee State, Virginia State and Winston-Salem State. This year’s HBOB theme involved Homecoming. “We wanted our alumni to come back and reflect on the program’s impact on their lives since they became a part of it,” Braxton-White says. “As far as next year, I’m sure it will be even bigger and better.”

Photo by Lionel Harris/Urban Visual.

Albany State: The Marching Rams Show Band has participated in the HBOB for five out of the past six years. Its performance included “Break the Ice” by Rihanna and “Love on Top” by Beyoncé. “To be selected as one of the top eight bands in America is fantastic,” says Michael Decuir, director. “But then when you know that this is the 10th anniversary, you feel special; you feel almost as though you’ve really been selected to a unique group. So we’re honored, and we appreciate it.”

Bethune-Cookman: Performing for the eighth time at the HBOB, the Marching Wildcats “thanked” Honda by forming a Honda logo to close the show. Its performance included “Party Rock Anthem” by LMFAO. “This is our 8th year,” says Donovan V. Wells, director of bands. “We were here for the th 5 anniversary; we’re here for the 10th anniversary. It’s a true honor. Atlanta receives us very well; Honda treats us very well. It’s a good stage for HBCU bands to be on to expose our unique talents.”

Photo by Lionel Harris/ Urban Visual.

Photo by SGT Kevin Robinson. Photo by Lionel Harris/ Urban Visual.

Jackson State: The Sonic Boom of the South rocked the house with its performance that included “Boogie Wonderland” by Earth, Wind and Fire and “Poison” by Bell Biv DeVoe. “It really is an exciting thing to be here; it’s an honor,” says Dr. Lewis Liddell, Sr., director of bands. “It’s good for the students. And it also gives us an opportunity to see other bands that have achieved. … It’s good to see the best of the best. … It’s good for education, our education, really elementary and secondary as well. It gives kids some positive images to look at.” Prairie View A&M: The Marching Storm not only had the honor of marching at this year’s Honda, but the band has also been invited to participate in the 2012 Summer Olympic Games in London. Its HBOB repertoire included the “Entertainment Tonight Theme” and “Take Care” by Drake. “This is really an honor for us to participate in the showcase,” says Dr. William McQueen, director. “This is our fifth year participating. And, of course, our kids are excited about it and look forward to the trip here and look forward to participating, to be among the best.”

Photo by Lionel Harris/Urban Visual.

South Carolina State: Though mourning the loss of its arranger, Carnell Knighten— who died three days before the HBOB—the Marching 101 got the crowd roaring with its multimedia introduction and guest singer Lenny Williams who crooned “Cause I Love You.” “Last year was our first year, and certainly we don’t want to be a one-hit wonder,” says Eddie Ellis, director of bands. “It’s something we look forward to. We have a number of our students who have never been to Atlanta. To top it off, we’re coming to an event like this. We’re just thrilled; and they are too.”

Tennessee State: The Aristocrat of Bands celebrated its university centennial in its show. Songs included “Moves Like Jagger” by Maroon 5 and “It Feels Good” by Tony! Toni! Toné! “For Tennessee State to participate in the 10th annual Honda Battle of the Bands is a very significant thing for us, in that we were one of the original bands in it at the inception of the Honda,” says Dr. Reginald A. McDonald, acting director of bands. “And for this event to continue for 10 years is very significant for what it does for music education and offering an opportunity for kids at HBCU colleges.” March/April 2012 17

Photo by Lionel Harris/ Urban Visual.

Winston-Salem State: The Red Sea of Sound made a unique move at this year’s HBOB with its female drum major, Tiffany Davis, performing on drum set for one of its songs. The band also paid homage to television tunes. “We’re very thrilled to represent Winston-Salem State University at the Honda Battle of the Bands for a second consecutive year,” says Dr. Michael Magruder. “It’s very exciting. The kids are excited. We just look forward to entertaining 60,000 people in the Georgia Dome.” 18

Photo by Lionel Harris/ Urban Visual.

Virginia State: The Trojan Explosion has appeared in nearly all of the 10 Honda Battle of the Bands. Its performance this year included “Celebration” by Kool & The Gang and a special full choir feature. “We’re happy to be at the 10th anniversary, the ninth performance for Virginia State University,” says Dr. Mark W. Phillips, director of bands. “We feel fortunate to be here, and we’re very appreciative to Honda, to all of its affiliates, for making this a dream come true for marching bands.”

By Lydia Ness

It’s proven time and time again that the value of music education and pageantry is incomparable to anything else. Even though programs around the country suffer from budget cuts and unclear futures, several organizations celebrate marked anniversaries with optimistic views on what is still to come. WGI Sport of the Arts, Drum Corps International, the Macy’s Thanksgiving Day Parade and the U.S. Army All-American Marching Band give students and young adults opportunities to pursue the performing arts with excellence and look forward to doing so for many more years.

Photo by Sid & Linda Unser.

Sport of the Arts!

About the Author Lydia Ness is a senior journalism student at Biola University in La Mirada, Calif., with experience in visual, print, broadcast and public relations. She has performed in the Glassmen, the Bluecoats and The Blue Devils Drum and Bugle Corps as well as the Riverside Community College indoor percussion ensemble. She teaches the front ensemble at Capistrano Valley High School in Mission Viejo, Calif. Lydia plans to go to law school in fall 2012 and focus on international justice. 20

35 Anniversary April 2012 th

n the 35th season, WGI guard and percussion activities are growing at a promising rate. Despite budget cuts in music programs nationwide, 326 new ensembles joined this season alone; this number does not even account for the indoor groups that compete in non-WGI events as well as the growth in Europe. WGI even hosted a show in The Netherlands this season. “It is a bit of a paradox to hear of the struggles that school districts are experiencing around the country and still have the kind of participation that WGI continues to enjoy,” says Ron Nankervis, executive director of WGI. “It … reinforces that what we are offering is something worthwhile for groups to go the extra mile to attend our events.” In 1978, WGI began as a way to organize and bring unity to indoor color

guard competitions across the country. Prior to this organization, judging and show requirements were different in each region.

The Growth of Indoor Percussion More than a decade later, in 1993, George and Lynn Lindstrom introduced the WGI percussion division, but they did not create the idea. For quite some time before, visionaries like Ward Durrett had been working on the concept. “What WGI did was to add structure and continue to build a new way to compete as interest grew,” Nankervis says. The indoor percussion circuit brought in the unique arena for young instructors to put together their own creative productions outside of the

Photos courtesy of WGI Sport of the Arts

Photo by Dan Scafidi.

WGI Sport of the Arts

marching band activity. “WGI percussion has gone from basically playing an outdoor marching show, including uniforms and shakos, with the horn parts being played by the mallet instruments to full-fledged productions of epic music and visual programs,” says Don Click, WGI Hall of Fame member. The competitions eventually moved from the stage to the arena. “It caught fire and has become an art form and major part of WGI,” Nankervis says. From the mere eight ensembles at the first WGI percussion championship, the 2012 championships are expecting more than 180 percussion ensembles.

A Steady Evolution

There have been several ways that WGI percussion and color guard have changed over the years and milestones that have marked these changes. According to Nankervis, the introduction of the floor tarp as a stage changed the activity significantly. Today each group has a tarp unique to its show, adding creativity and offering cohesion in “total concept” shows. March/April 2012 21

Indoor color guards were the first groups to perform the total concept show as opposed to the collection of songs played in random order. This idea has been transmitted from the floor to the field, with marching band and drum corps shows taking on this challenge as well. While many do not agree on whether this change is a good or bad adaptation, Nankervis believes that from a visual excellence standpoint, no one can argue the influence of indoor. Indoor programs have also increased skills of color guard and drum line participants who go straight into drum corps. In fact, most corps do not begin preparation for their seasons until after WGI championships. “Those members arrive at camp ready to tackle the challenges their staffs give them,” Nankervis says. Though the influence of WGI continues to grow as do the number of groups participating, Nankervis is surprised that instructors of color guard and percussion ensembles can build full careers in the activity. He believes that it is great for instructors to make

a living doing something they are passionate about, but he also believes there are potential negative results. For those who spend their time juggling several groups, he believes that they can miss out on some camaraderie and community while accommodating several performance schedules.

Shrinking Judges Pool

As WGI has grown, so has the concern over the judging pool. Many circuits have pulled their resources together to bring WGI certified judges to their contests. Instead of building a local judges pool, the norm today is to hire these national judges. As a result, circuit dues increase for groups because they must accommodate for airfares and hotels for judges. “The ratio of new judges coming into the system is a concern within our organization,” Nankervis says. “We must find a way to keep new blood coming into the judging pool.” In the future, the WGI board of directors hopes to expand educational reach in the United States as well as internationally. It also plans on continuing

efforts to train new instructors, increasing the quality of each student’s experience and continually bringing in new judges.

Surprise Celebration

In celebration of the 35th anniversary, WGI has been putting together unique videos and articles on its website. “While it is somewhat low-key, we do want to make people aware of the milestone,” Nankervis says. “We also didn’t want to incur any additional expense to groups in this economic climate.” Even so, the WGI community can look forward to surprises prepared for championships in April. There is every reason to believe that the shows and performers will continue to grow and embody excellence in new ways. “The production quality of the shows will continue to be refined, [and] the demands on the marching members will continue to be pushed beyond what is conceivable today,” Click says. “I personally hope that designers and members will continually think of the audience and to engage them.”

2012 WGI WORLD CHAMPIONSHIPS Watch LIVE at home! Color Guard AprIL 12-14 world championships percussion AprIL world championships

19-21

wgi.org/webcast Celebrating 35 Years in 2012!

Photos courtesy of Drum Corps International

Drum Corps International

40th Anniversary August 2012

n 1972, Dan Acheson—executive director and CEO of Drum Corps International (DCI) since 1995— performed at the very first Drum Corps International championship as a member of the Queen City Cadets. Forty years later, Acheson is optimistic about the future of the activity and the impact it has—and will continue to have—for performers and spectators around the country. From its beginning, DCI has been committed to providing an opportunity for young adults to pursue their craft with excellence and a pageantry experience for spectators unlike anything else. Acheson says that DCI has taken each year as an opportunity to refine and improve and will continue to do the same in the future.

Music’s Major League

DCI has changed most notably in the following areas: the organization of the corps, the level of achievement from the performers, the business of corps and the economic obstacles they have to face. First, DCI has morphed from community-based participating organizations into major league organizations that now are considered to be the top of the marching music world. “They are key influencers in marching music,” Acheson says. “Back in the day, it was more ‘home-spun’ than it is today with the fantastic productions. The level of achievement the members are accomplishing today is spectacular.” DCI Hall of Fame member Michael Gaines says the change to the leaguestyle corps has decreased the number of corps participating. According to Gaines, there used to be many corps in the same location, but now the corps have centralized into regional and national groups. In any event, Gaines has also seen the impressive quality of performers that participate in the corps today. “Programming and musical selections have changed over time, [and] the skills and demands being asked of performers have been exponentially increased every year,” he says. “[This] combined with the result of awe-inspiring achievement produces products that no one ever dreamed possible in the early years of DCI.”

The Business Side

The business side of DCI has also changed significantly since 1972. There used to be several independent organizations running events, and now DCI is the umbrella for the tour. Selling merchandise and having endorsements are other additions to the business of drum corps that were not present in the early years. While the previous changes are natural byproducts of growth and development in the organization, the economic state

of the country presents DCI with unique issues that it must address each year. According to Gaines, budget cuts in high school music schools affect the education of students coming into the corps. Not only have schools decreased music education around the country, but administrations have also tightened their policies on facilities. As a result, DCI is having difficulty receiving access to schools, no matter what the price. Sometimes this is due to schools being closed off for weekends or for weeks at a time during the summer. DCI relies on these schools for housing and rehearsing. The lack of housing as well as the amount of money it takes for the corps to travel by road present concerns about the sustainability of long tours. Each year DCI and individual corps modify how they run in order to adapt to the current economic state as best they can. “Drum corps and the people who run them have always found a way to persevere, and I have every reason to believe that this will continue,” Gaines says.

Improving Relevance

Acheson believes it is extremely important for DCI to continue to increase ticket sales during this difficult economic time. “Like any other nonprofit or profit entity, it’s a matter of maintaining our relevance,” he says. “If people are excited about what we do, we sell tickets, and if we sell a lot of tickets, it helps each corps as well as the operation of the tour.” DCI is responding to the need for relevancy through discussions about how to make performances even more exciting, hoping to draw in larger crowds of spectators. According to Acheson, with the new judging changes inputted this year, DCI expects the combination of judges, audience and performances to all sync up even more in terms of generating excitement at the events. DCI hopes that audience attendance will increase, giving performers the thrill they seek and work so hard to obtain.

“Grand Reunion” event to take place after semifinals of world championships this year. Festivities include an on-field VIP ceremony as well as an after-party. “Go, celebrate, rub elbows with people who had the same experience you did and meet up with old friends that marched,” Acheson says. “It’s an opportunity to take a deep breath in celebration of 40 years of Drum Corps International.”

“The first championship was enough fuel to keep this rolling like it has over the years,” Acheson says. “We have modified that one event into what is now our 100-event tour. … As the tour and everything evolves each year, this crown jewel that we refer to as our championship motivates the push to the next year.”

Grand Reunion

DCI has built an impressive alumni base during the past 40 years. An estimated quarter of a million people from more than 15 countries have participated in DCI. As a 40th anniversary celebration, DCI is organizing the March/April 2012 25

he Macy’s Thanksgiving Day Parade has become a community tradition for the red, white and blue Homewood (Ala.) High School marching band. The band has performed in the parade eight times in the last 20 years and excitedly participated in Macy’s 85th anniversary in 2011. “The band is patriotic, and we’re kind of like mom and dad and apple pie,” says Ron Pence, band director. “We haven’t changed over the years; we’ve stayed the same. We try to entertain the crowd and give them the experience that’s all a part of Macy’s.” When Pence was hired as the director, he wrote on the top of his goals that he wanted to take the band to the Macy’s parade. Under his leadership, the band has marched in the parade three times. “I still have the sheet of paper in my desk,” Pence says. “And to check it off three times. Wow, what a dream come true, and I’m still living the dream!” The Homewood band’s numerous appearances are an honor for the entire community, and it is not taken lightly.

A Holiday Tradition

According to Orlando Veras, Macy’s parade spokesman, the parade is considered to be the “Super Bowl of marching bands.” Each year the Macy’s Band Selection Committee looks through more than 150 applications of all sizes and styles of ensembles to determine who the lucky 10 to 12 groups will be. The bands selected to participate in the parade have 26

Macy’s Thanksgiving Day Parade

Photo of the Homewood (Ala.) High School Marching Band by Terrance Cobb.

e M ac y’s rte sy of th up Ph o to co u n m en t G ro d E n te rt ai Par ad e an

85th Anniversary November 2011 excellence in field performance, a track record of success in competition and know how to entertain the crowd. For 85 years, the Macy’s Thanksgiving Day Parade has been part of the holiday tradition—like turkey and gravy—and grown in its magnificence over the years, finding its way into home televisions around the globe. But how did the tradition begin? In 1924, Macy’s employees, largely comprised of immigrants, wanted to create an event to commemorate Thanksgiving through celebrations of their home countries. As a result, the parade was born. “They gathered together for a parade dressed in costumes, forming bands and showcasing live animals, creating what has become a national and worldwide holiday icon,” Veras says.

Milestone Moments

The parade has also experienced several milestones. In fact, it played a starring role in the classic 1947 movie “Miracle on 34th Street.” This appearance helped the parade gain worldwide recognition. The parade has also been a symbol of hope during national tragedies. For example, the parade continued as planned shortly after the assassination of President Kennedy, per the request of the Kennedy family. “[It] served as a

way for our nation to grieve and also celebrate the life of our President,” Veras says. “Additionally, the parade was credited with helping to uplift the nation following September 11. It was the first major national event that took place after the attacks, and the nation gathered around the parade to honor those lost.” Throughout our nation’s history, the Macy’s parade brought joy on Thanksgiving morning. This year was no different. The 85th Macy’s parade celebrated its anniversary with a couple of unique additions. First, teen composer Tyler S. Grant wrote a fanfare for the Macy’s Great American Marching Band. The anniversary also launched Macy’s first Great American Elf Adventure. The public was invited to find and paint elf balloon models in Macy’s stores nationwide. Keith Lapinig’s elf, Gazor, won the contest and his model was transformed into a giant balloon that was debuted in the parade. The Macy’s parade will continue to wow its audiences for years to come and bring communities together on Thanksgiving morning. “We will continue to innovate in design [and] creation of new elements, keep our finger on the pulse of what is hot in pop culture and of course create ways for spectators to engage and feel closer to this beloved event,” says Wesley Whatley, creative director of the parade.

Photos courtesy of the U.S. Army All-American Marching Band

U.S. Army All-American Marching Band

5th Anniversary January 2012

n just five years, more than 600 students from more than 300 high schools around the nation have participated as members of the U.S. Army All-American Marching Band, which performs at the halftime show of the U.S. Army All-American Bowl. According to Colonel Timothy Holtan, Commander of The U.S. Army Field Band, the two groups make a natural duo. Each year, 125 students are selected from a pool of nearly 1,300 applicants to participate in this one-time, allexpenses-paid performance in San Antonio, Texas. “[The screening committee] selects the best young musicians, who demonstrate academic excellence, community involvement and an inner drive for success,” Holtan says. “Ultimately, these are the same qualities the Army seeks, both for our bands and the Army in general.”

Bowl Prep

The National Association for Music Education (NAfME), Drum Corps International (DCI) and All American Games formed the band, and each organization continues to play instrumental parts in the direction of the program. NAfME selects the kids, DCI helps with staffing and with the color guard program, and the Army sponsors the event. The week of the bowl game, participants fly to San Antonio, where they learn a five-minute marching show. The students prepare music before they arrive, but they learn and perfect about 55 pages of drill in just four days (about 24 hours of rehearsal time). The program has grown, the quality of performers has increased, and the rehearsals have been refined each year. For example, the students used to come for only two days prior to the bowl game, but they have extended preparation to four

days. Brian Prato, director of operations for the U.S. Army All-American Marching Band, believes this is the ideal amount of time and that it has benefited the program immensely.

Arrival Moment

According to Prato, one of the most memorable moments in the band’s history occurred this year. Ray Odierno, four-star general and Chief of Staff of the Army, spoke to the students after they performed. Another milestone for the band was the change in decor in front of the Grand Hyatt hotel in San Antonio this year. Outside the hotel stand 50-foot pillars on which the city does graphic wraps promoting the bowl game. During the first four years of the band’s involvement in the game, the graphics were pictures of football players and Army soldiers. This year, for the first time, four of the pillars comprised pictures of band kids. “When we saw that, it was kind of a major arrival moment for us as an organization,” Prato says. In the future, Prato would like to see a televised halftime show and hopes that eventually more funding will make it possible to increase the size of the band to 150 to 200 kids. March/April 2012 27

By Elizabeth Geli

Music’s Power to Heal A

Performing music is good for the mind, body and soul. Organizations are harnessing this power to change lives all around the world.

n elderly woman with Alzheimer’s recognizes her granddaughter for the first time, a group of strangers leaves as friends, and an impoverished orphan creates art. How? That’s music’s power to heal and just a few of the benefits of recreational music making (RMM). According to NAMM, recreational music making refers to playing musical instruments alone or in a group without the goals of mastery or performance; it emphasizes quality of life and nonmusical outcomes rather than competition or heightened performance. Examples include drum circles, jam sessions or experimenting with instruments. Companies, organizations and musicians are researching and implementing programs centered around RMM to help heal ailments such as depression, anxiety and even cancer as well as to improve morale and bring people together. March/April 2012 29

Photo courtesy of Remo HealthRHYTHMS.

Remo HealthRHYTHMS Percussion company Remo, Inc. created the HealthRHYTHMS Division to investigate, research and harness the power of RMM. “It’s time to stop thinking of the drum as just a musical instrument,” said CEO and founder Remo Belli in a statement. “Start thinking of the drum as a recreational tool for every family, a wellness tool for every retiree, and an educational tool for every classroom.” Neurologist Barry Bittman, M.D. and his research team created the HealthRHYTHMS Protocol, a ten-step method that includes drums and more. “It starts with 10 to 20 people in a circle, but it’s quite different from a recreational drum circle because it doesn’t even begin with drums,” says Alyssa Janney, HealthRHYTHMS manager. “It uses the drum as a tool for communication. There are icebreaking activities, games that go on, opportunities to share verbally and non-verbally. And then one step is a recreational drum circle, but the rest of the steps are intended to eliminate any perceptions that this is about performance and to help people connect with others in the group.” Through the research of Bittman and others, Remo created a list of seven evidence-based elements, or benefits, of HealthRYHTHMS Group Empowerment Drumming: self-expression, stress reduction, exercise, camaraderie/support, nurturing, spirituality and music-making. 30

“It’s pretty amazing to watch a group of strangers come together, and within an hour, people have gone from being strangers to acting and remaining like good friends,” Janney says. “It’s a really amazing way to break down barriers between people. It turns out the drum is a really great tool for that.” The benefits of RMM even go into the biological realm. The HealthRHYTHMS Protocol “significantly increased the disease-fighting activity of circulating white blood cells (Natural Killer cells) that seek out and destroy cancer cells and virallyinfected cells.” Further research by the Yamaha Music and Wellness Institute showed that RMM had greater stress-reduction impacts than standard relaxation activities such as reading or conversation. “You don’t need to be a drummer to facilitate HealthRHYTHMS, and you don’t have to be a drummer to participate,” Janney says. “The one common thread for people to come to the HealthRHYTHMS training are all looking for tools to help make the world a better place.” Remo holds training seminars for facilitators to become certified and apply the techniques to their own industries and expertise. Past participants have included doctors, nurses, clergy from various religions, music and behavioral therapists, counselors, teachers, CEOs and more. They use HealthRHYTHMS for programs involving multiple sclerosis, cancer, Alzheimer’s and stroke support groups; employee wellness; drug and alcohol

rehabilitation; community stress buster circles; senior populations; assisted living facilities; caregivers; adults with intellectual disabilities; intergenerational groups and at-risk youth. One HealthRHYTHMS facilitator, Bonnie Harr, led an intergenerational session on Mother’s Day. One woman brought her daughter as well as her mother who was suffering from Alzheimer’s. All of a sudden during the drumming, the grandmother looked at her 8-year-old granddaughter and called her by name for the first time, enthralling the young girl as she jumped up to hug her Nana. Harr writes about the experience in an essay, recording the woman’s statement: “My mother will never remember this day, but my daughter will never forget it.”

Muse Power The roots to RMM can be traced back through natural history, far before scientific research came into play. “Community music extends back into tribal roots and how indigenous cultures and people around the world used music to keep community strong,” says Cheri Shanti, writer, drummer and dancer. “The tribal way of music is community-based, and everyone is involved. In many cultures the word ‘music’ automatically includes dance.” Shanti’s book “Muse Power: How Recreational Music Making Heals Us From Depression and the Symptoms of Modern Culture” details how music went from a community tribal experience to a Westernized model where audience and performer are separated. “The book came from my own experiences and seeing how powerful music and community can be for the average person to get through depression,” Shanti says. “I think about how we can bring more community-minded music into the arts and bridge the gap between performer and audience, making it one entity. My argument is that the more we do that, the more connected we will feel.” A junior high and high school marching band saxophonist and drum major, Shanti found her way back to music later in life through drum circles and the Pagan community. Now Shanti leads drum circles, seminars and retreats focused on RMM and nature. “I think it’s important to empower students to recognize that you don’t have to be a musician to be able to create and express musicality,” Shanti says. “In many cultures music is an oral tradition, music

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is not about learning notes or being perfect. In the Western world, we tend to judge more, but in children and youth, it’s OK; you don’t have to be perfect, knowledgeable or schooled to create music, play an instrument or dance. That’s what recreational music making brings to us.” For those in extreme poverty and hopelessness, the gift of RMM (or any music at all) can be an eye-opening experience or a life-altering inspiration. The HEARTbeats Foundation “strives to help children in need harness the power of music to better cope with, and recover from, the extreme challenges of poverty and conflict.” Founded by renowned cellist Lynn Harrell and his wife, violinist Helen Nightengale, the foundation’s pilot program launched with a 10-day trip to Kathmandu, Nepal, to implement and develop music and art therapy programs. HEARTbeats partnered with the Unatti Foundation, a previously established notfor-profit that provides food, shelter and education to underprivileged girls in Nepal. “There’s great joy and uplifting qualities of music for anybody, but especially for these children who are in desperate situations,” Harrell says. “It was a program that didn’t necessarily teach them to play music, but to use music to enlighten their lives, and we were just amazed by how much success we had.” The foundation conducted several activities such as performing for the children, drawing and painting what they felt while hearing music, self-portraits using mirrors (a rarity for them), learning and singing songs, and experimenting with instruments. Most of the children had not ever made music or drawn for fun before. “Music and self-expression through drawing and art are keys to making a huge, huge change of opportunity for young people,” Harrell says. “Some of them are not cognizant yet of their moods and situation and how it makes them feel and how their feelings run their lives. Through music and art, they can get in touch with that and then can change their lives.” HEARTbeats hopes to institute these programs year-round in Nepal with full-time staff and in the future to create similar programs in other impoverished countries. “For me it was one of the most beautiful and giving experiences I’ve ever had,” Harrell says. “I suppose I make some sort of connection to my own past

HEARTbeats Foundation

because I was orphaned by the time I was 17 and was on my own. The world is closer to being one community, and our responsibility as human beings to reach out and give support to other people is the most important thing one can do in life.” A soon-to-be-released album “Paint Me a Rainbow” will raise funds for HEARTbeats and Save the Children’s HEART program—the organization that originally inspired Nightengale and Harrell to create their own foundation. Primarily with original songs written specifically for HEARTbeats, the album features superstars such as Placido Domingo, Jessye Norman, Christine Brewer, John Williams, Joan Baez, Blind Boys of Alabama, Maroon 5, Ladysmith Black Mambazo, Sting, Paul Simon and more. “It’s a very imtimate album,” Nightengale says. “It’s something that’s really unique because it’s just about friends coming together to help these children. It’s a beautiful centerpiece of what this project is about for us.”

Musical Therapy Regardless of the method, there’s no denying the many benefits of RMM—

physical, emotional and social. “It really helps people to stretch beyond their perceived boundaries,” Janney says. “It makes people want to try things that they thought were impossible for them and overcome the obstacles that they face.” Perhaps RMM works so well because music is a truly universal and easily accessible language. “People are more and more aware that art activity itself contributes to all mental and personality developments,” Harrell says. “Any person who can cry at the beauty of a melody or jump up at the joy of ‘Take Me Out to the Ball Game’ recognizes this power. It’s mysterious, but it’s there. Music uplifts the spirit, and you can accomplish great things. Without that, we’re struggling through depression, and everything is a struggle.” Whether mysterious or scientific, music education (structured or recreational) stimulates the brain and enriches the soul. “One thing that is well-documented is that musical people make much better team players in corporations,” Shanti says. “The musical students’ brains operate in a way that allows more creativity. Music opens the doorway for stronger foundations in students.” March/April 2012 33

By Jeremy Chen Photos by Lee Lafleur

The

SeconD TIME Arounders Do you dream of being able to march after drum corps or college, long into your golden years? Well, you can! The Second Time Arounders from St. Petersburg, Fla., turns this fantasy into a reality.

ost marching musicians stop performing after they graduate from college or age out of drums corps. The select few that continue might participate in all-age corps through Drum Corps Associates. The Awesome Original Second Time Arounders Marching Band from St. Petersburg, Fla, is in a small unique category of permanent adult marching bands. This year, it celebrates its 30th anniversary. For those who just can’t get enough of marching band and “dreamed of doing it one more time,” the Second Time Arounders allows marching alumni to continue to march … way beyond college. The participants range in age from 18 to 85. They practice on Tuesday evenings, perform at local events, have multiple socials and travel to a major parade or festival every few years. In the past, it has performed in Disney World, the Macy’s Thanksgiving Day Parade, Ireland, and the Calgary (Canada) Stampede. Director and co-founder Bill Findeison discusses the origins and future of this 400-member group, which gives working adults a chance to feel like they are back in their youth again.

Halftime: Could you tell us a little about yourself and your background? Findeison: Well, I have a master’s degree in music education from Florida State University. I had taught high school and junior high band for five years before I went into the music business. I had also marched throughout high school and college before teaching. Once I became involved exclusively with the music business, I stopped teaching. Halftime: How did The Second Time Arounders get started? Findeison: The band started about 30 years ago, and we started out as a small group and advertised in the local newspapers. It was a way to promote my music store, and we wanted to have a float in the local parade as well. I thought: “Why not start a marching band,” and I was itching to teach and

direct again. In the advertisement we said we wanted to form this band and have people show up to this rehearsal. We had 75 people show up, which was a nice number to start with. We first marched in the local civic parade they had in St. Petersburg, Fla. Halftime: Where did you get instruments to play with? Findeison: We borrowed the instruments from local high schools and colleges. We managed to acquire mellophones and sousaphones along with the marching percussion instruments. Most people were able to bring their own instruments, which made it a little easier. For the people who may have sold their instruments or don’t have one, we have rentals that members can check out and return at the end of the season. Halftime: Where has the band performed? Findeison: Three years ago, we marched in the Macy’s Thanksgiving Day Parade in New York City, with about 500 people. This past summer, we went to Calgary, [Canada], and we performed in the annual Calgary Stampede, and we played concerts and on a field. We didn’t compete, but we were one of the demonstration bands. We took about 300 people to that. Halftime: What type of music do you play? Findeison: Our job is to entertain the audience as we don’t compete like a lot of high school bands do today. High schools are typically playing to the judges, and at times it gets a little over the audience’s head. We don’t try to do that. We have fun and enjoy it, and I would describe the quality as a very good college band. We play a lot of stuff people will know and recognize like marches, popular songs and Broadway shows, pretty much anything that will get the crowd stomping their foot and such.

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Halftime: What is the current state of the band? Findeison: We technically have about 300 musicians and 100 in auxiliary such as flags, twirlers and a dance team. When we do a big parade like Macy’s, we usually have around 500 members because everyone wants to do the parade. The instrumentation of the band is very balanced as well. It always seems to work out with the numbers. Halftime: How would someone join the band? Halftime: It’s pretty simple enough: Just show up. We have no auditions, and we usually say just have experience playing the instrument you want to play. The same applies to the auxiliary although the About the Author dancers on our dance team may not have Jeremy Chen is a sophomore majoring in broadcast journalism at the done it in a marching band setting, but University of Southern California (USC). He marched cymbals for two nonetheless have dance experience. We years at Rancho Cucamonga High School before playing bass drum accept everyone who is willing to put a and snare at Upland High School. He is currently a cymbal player commitment to attending the practices and and office staff member for the USC Trojan Marching Band. He sounding good as an ensemble. aspires to one day become a correspondent for the BBC. March/April 2012 35

Behind the Baton By Lindsay Walsh

THE

Photo by Jen Edwards

Accidental

What happens when you unknowingly audition for drum major and actually get awarded the position? You embrace it!

he West Milford (N.J.) Highlander Marching Band holds a high standard for its members. As a freshman I was unsure how I would hold up to their standards. The marching band has taken hundreds of first place and honor awards in the past, and I knew it was going to be difficult to be good enough to fit in. Every year, we march in the Saint Patrick’s Day Parade in New York City and never fail to impress the judges. Also, every fourth year, the band leaves for a 10-day tour to Scotland and England. Freshman year, I put all of my effort into every rehearsal, and it was worth it. “When championship night comes, you’re not going to be thinking about these

cold and rainy rehearsals; you’re going to be thinking about putting on the best show possible and making the audience know that the Highlander Band is here.” Our band director never failed to inspire us. When that night came, I knew all of my hard work had paid off, and I was now a member of the 2009 U.S. Scholastic Band Association Group 5A Northern States Champion Band.

The Unexpected I knew that I wanted to play a bigger role in the marching band, but being a drum major was last on my list. Becoming the next clarinet section leader was my main goal, and nothing would stand in my way.

Every year the drum majors put together a teaching clinic for the members who would like to audition to be the next Highlander drum major. An upperclassman told me that the clinic was a great learning experience even if I did not want to become drum major. When the auditions came around, I stepped aside. Halfway through, I felt a hand on my shoulder. “He wants to see what you can do.” The current head drum major motioned me to follow. I walked in to see my band director and everyone else watching me. Unprepared, I conducted “The Star Spangled Banner” and walked out. I could not figure out why I needed to audition. After all, many people told me that only upperclassmen become drum majors. The results were posted, and I did not bother looking. My friend came running toward me, screaming. I was about to congratulate her on her new leadership position until she interrupted me, “You got drum major!”

In disbelief, I walked out to find my name under the caption “Drum Majors.” I stood there in shock, not knowing whether to be happy or scared. I knew this was going to bring on new responsibilities I was not ready for.

The Buildup Before the season even started, I was already getting negative comments about being an underclassman drum major. These statements made me very nervous. Upperclassmen did not like the fact that a sophomore would be up on the podium. For a while, I felt like they were right; I should not be in this position. Then I attended the George N. Parks Drum Major Academy. At this academy, I was taught the skills I needed to be the best possible drum major I could be. When I returned back home, I felt like I was ready to lead my band to excellence.

The Process I was no longer learning the ropes as drum major, which allowed me to focus on the other major aspects of my job. I was able to expand on my leadership skills, and I was no longer hiding behind

the fact that I was only a sophomore. I was able to create the balance of fun and work with my band members which really paid off in the end. In order for your band members to respect you, you must respect them. Also, my co-drum majors and I worked really well as a team, and the judges at our competitions were able to see that. We were given two trophies: “Best Drum Major Award” and the “Dr. Gloria Kyleigh’s Leadership Excellence Award.” It was great to know that the judges were able to recognize our hard work as well as the band’s great performance.

The Ups and Downs Being drum major is the hardest thing I have done in my life. Everyone expects you to always be correct with everything you do, which will never happen. The

band members do not realize all of the behind-the-scenes work that is done, so rehearsals can work properly. It is our responsibility to make sure the band is ready to start on time and all of the equipment is in place. Also, you are expected to be a role model on and off the field. My favorite part about being drum major is seeing the band improve as the season goes on. Every year the Highlander Band has brought tears to my eyes and goose bumps to my arms. Being drum major has been very rewarding, and it is crazy to think I did not want this position at first. I am proud to represent such a wonderful band and leading them has been an honor. Every drum major should take advantage of the fact that they have the best opportunity to change people’s lives. Your band members will never forget you.

About the Author Lindsay Walsh is a junior at West Milford High School, where she will have three years as a drum major. She plays clarinet in the wind ensemble. Lindsay also plays cymbals in the West Milford Indoor Percussion group. She also marched with the 2010 Macy’s Great American Marching Band. Lindsay plans on attending college to major in music education.

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Fitness to the MAx

By Haley Greenwald-Gonella

Good Vibrations Find out how you can easily feel music’s healing powers.

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 recently graduated from the University of Southern California with a 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.

illiam Congreve claims in his poem, “The Mourning Bride”: “Music has charms to soothe a savage breast.” (Sometimes he is misquoted— people occasionally substitute “beast” for “breast”—this statement seems to be true either way, and yes, music most definitely has healing powers.) Have you ever picked up your instrument, and the notes produced prior to warming up sound something like nails on a chalkboard? The vibrations you have created are unpleasant and move through you like a jarring shock; thus, the opposite must also be true. Have you listened to a piece of music simply because it brought tears to your eyes as the crescendo induced the spread of goose bumps all over your skin?

Tibetan Singing Bowl Music has healing and meditative qualities stemming from the vibrations, which create the ultimate sound. A Tibetan singing bowl concert uses this concept to help with relaxation. The best thing about a Tibetan singing bowl concert is lying down and letting the vibrations produced by the bowls move through you—you lay down on the floor and are consequently on the same plane as the bowls being played. There is a calming, meditative-like state that is entered during this type of concert, as the breath slows and allows the parasympathetic nervous system to melt into a state of calm. Talk about good vibrations! You can recreate a Tibetan singing bowl concert even without the bowls. Recruit a musician friend to have a partner concert with you. Take turns lying

down and letting your friend play his/ her instrument on your level, so that you can feel the vibrations of the notes wash over your body. Start this exercise with notes in the lower register and then as you become more in touch with listening to the notes and feeling them in your body, move to the higher register. Play calmly and slowly—infuse the notes with your own relaxed energy.

Music Therapy As musicians, you have undoubtedly heard a lot about music therapy, which has gained popularity along with other types of art therapies in recent years. The American Music Therapy Association defines music therapy as “the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional.” In essence, music therapy uses sound, music and the act of playing an instrument to cope, reflect and delve deeper into the individual self. Music is a form of self-expression; therefore, it naturally follows that it has the power to bring up emotion with the subtlest of vibrations. Senator Harry Reid was quoted as saying, “Simply put, music can heal people.” Music has been seen to help people who have Alzheimer’s, autism and Parkinson’s disease. If music and vibratory patterns can help severe diseases such as these, then music can certainly help you maintain a healthier lifestyle, even off the field and out of the band room. Think about it this way: Would you prefer your morning alarm to sound like an alarm or would you prefer to wake up to music?

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“Get Well Soon”

A musician’s guide to staying healthy 1

28 31 34

39 44

59 62

Across 1. “___ little teapot ...” (2 words) 4. Policemen 8. Italian automobiles 13. Bread at an Indian restaurant 14. Tortoise’s fabled opponent 15. Bruce Wayne’s butler 17. Where musicians may start to feel feverish? (3 words) 19. Italian Winter Olympics city, to the Italians 20. It’s said while raising your glass in a toast 21. Dallas NBAer, for short 22. Body part in “The Lion and the Mouse” 23. With skill 24. What a doctor would need to write completely for permission? (2 words)

12 16

53 57

27. Michigan’s ___ Canals 28. ___ Ed (class that incorporates sports) (abbrev.) 29. Sing from the mountaintops 30. Suffix after iso32. Coffee cup edge 33. Go bad 34. The important parts of permission slips from your doctor, for authentication? (2 words) 39. Freddy’s street 40. Drink cooler 41. They used to be married 43. Alphabetical fivesome 46. Takes advantage of 47. Post- opposite 48. What the doctor schedules for part of your day? (2 words)

50. Red Hot Chili Peppers bassist 51. Abbreviation at an airport terminal 52. “___-Man Fever” (1980s hit) 53. Honeydew and cantaloupe, for instance 55. “In this current state ...” (3 words) 57. Non-synthetic vitamin complex to help you get better? (2 words) 59. Stately dance lending its name to a Fauré work 60. Musical finale

61. End of most university web sites 62. Salad-grabbing tool 63. Console that included Super Mario World, for short 64. Coffee size (abbrev.) Down 1. Healing from broken bones, perhaps (3 words) 2. Algebra text, for example (2 words) 3. Deer partner, in “Home on the Range” 4. “Believe” singer 5. Granola ingredient 6. Paid athlete 7. Back-to-school month (abbrev.) 8. Deadly 9. Valentine’s Day sentiment (3 words) 10. Continent where the banjo originated (abbrev.) 11. Camera stand 12. Capitol Hill gang 16. Wooden rod 18. “Over here!” 21. Rapper ___ Def 24. William Henry Harrison’s political party 25. Writer of church music, perhaps 26. ___ Dame (home of the Fighting Irish) 28. Prudish 31. “___ the Tiger” (“Rocky” song) (2 words) 33. Rural roads (abbrev.)

35. Drinking soup in a notso-quiet way 36. Cards with one spot 37. Dora, for one 38. Sing to someone on the second floor, for instance 42. Colorful but slimysounding underwater gastropod (2 words) 43. In ___ (piled up) (2 words) 44. Nags (2 words) 45. Pop-classical singing quartet formed by Simon Cowell (2 words) 46. California’s home of the Trojans (abbrev.) 49. Simplifies 50. Cause of some aches 53. Created 54. Greek vowels that look like an H 56. Skip the bronzer 57. ___ National Championship Game (college football playoff game) 58. Restaurant seating alternative to “smoking”, before smoking bans

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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