Star of Indiana - Recollections (by Bill Cook) [repost]
Stuart Rice
by Bill Cook and Jim Mason
Seeing drum corps for the first time
I first became aware of drum corps in 1979 when
Carl, my son, wanted to watch the DCI Championship for a
high school band project. I griped but he won out and so
the TV was turned on to Birmingham. The corps that I
remember most was the Bridgemen; to me they were humor,
professionalism, talent, entertainment, all wrapped up in a
yellow package. When the show ended at 1:00 a.m., I was
hooked and the following summer Carl and I went to several
shows--the most memorable was the championship at
Whitewater. Phantom was incredible and I couldn't believe
that 15 to 21 year olds were making such wonderful music.
Carl never considered drum corps while in high
school because he was a saxophone player, but during his
second year in college he decided that he wanted to try out
for the Colts. After a tryout, he didn't think that he
could make it but was given a flugel horn, told to go home
and learn how to play. By his own words, he couldn't play
much his first year but by the second year, he could. The
marching was a foreign language to him and he considered
that he might be cut at anytime. He aged out in 1984 and
stayed on as a staff instructor through 1986.
Star becomes a reality
After the DCI semi-finals in 1984, Bob Lendman and I
were crossing a street in Atlanta when I asked him, "Carl
just aged out of the Colts; what would you think about us
starting a drum corps?" His answer was: "you're nuts!"
I met Bob in the summer of 1981 when he appeared in
Bloomington with a huge white and blue semi equipment truck,
two sagging buses, and the "Blue Stars." Bob had parked
this monstrosity on a sidewalk next to a fire plug and was
having a conversation with a two off duty university
policemen. Earlier that morning, I had received a phone call
from the police chief telling me that some "drum" guy had
parked his semi in a no parking zone. It seems that Bob
had convinced the police that the truck belonged on the
sidewalk and next to the fireplug but only after
considerable talking. Suffice it to say, the truck remained
there until the Blue Stars and Bob left two days later. Bob
and Allison Lendman have deep roots in drum corps; their
kids marched in Phantom Regiment and Bob later became
Phantom's director. He had the fortune or misfortune of
getting two back-to-back 2nds in the World Championships.
To this day, he is sensitive to what happened. I still
greet Bob with: "hey Bob, have you got a second?" He goes
ballistic!
But back to the story in Atlanta. My next question
to him was "who would you pick as director?" He related the
backgrounds of several Midwest directors but in the end
said: "I would pick Jim Mason." So off we went to find him.
Jim was standing by a Colts bus at the back of Grant field.
After several minutes of pleasantries, I said to
Jim, "would you consider being director of a new drum corps
which would be based in Bloomington Indiana?" His answer
was, "let me think about it and talk with Theresa (his
wife.)" On the following Monday, I called and set up an
appointment for the two of them to visit Bloomington.
After seeing my commitment to the project, Jim said: "You
now have yourself a corps director; I'll take the job." He
didn't ask about salary or any details before he said yes.
There has been a speculation that it required $1
million to field Star; this is true. (At another time, I
will give the details on how four corporations were started
to meet Star's financial needs in the future; these
companies are: Star Bus Lines, Star Travel Services, Cook
Aviation, and Cook Air Services. With the exception of
Cook Air Services , they are profitable and contributing to
Star of Indiana today.)
Expenses each year run between $740,000 and
$950,000. For this reason, I suggest to anyone who asks me:
"what is the first thing to do when starting a drum corps?
"My answer is: "raise enough money to get started and to
field the corps." "Never go in debt and stay within budget."
"Find a continuing source of income outside of drum corps
such as bingo or sponsorship." "Don't disappoint young
people by allowing your corps to go broke."
Jim Mason, Director, Star of Indiana
Jim was born in Cedar Rapids Iowa on February 3,
1954. Jim knew very early that music would be a part of his
life. He joined his first corps when he was seven, began
arranging for drum corps at age twelve, started his own
band in junior high school, and aged out with the Madison
Scouts in 1975. He attended college and then was offered
the directorship of Colts where he remained for eight years.
During his tenure with the Colts, they became known for
their wonderful "big band" sound. One of Jim's favorite
programs was the "Mississippi River" show where Greg Blum
was at his best with his screaming trumpet. Greg's ability
to make a soprano howl is still remembered by those who
heard him.
The Winter of 1984
During Jim's first visit, he told me that he didn't
know whether or not it would be possible to field a corps in
'85 and talked about what was needed--4 buses, two semis,
equipment, uniforms, staff, and a headquarters were all
mentioned. "The staff is the key to success and if we can
hire the right people, we may be able to teach the corps how
to get on and off the bus the first year." I didn't know
what Jim meant until we began gathering equipment and
hiring a staff.
The Monroe County school board had just advertised a
surplus grade school for sale. It was located 7 miles North
of Bloomington and there were only 6 houses in a three mile
radius. We went out to have a look at it and we talked
about leveling the playground for a practice field. Two
weeks later, the Brown School was purchased for $225,000,
and the following week bull dozers began leveling the play
yard. In the meantime, Bob had found three MC-9 buses that
were for sale at Badger Bus in Madison. We bought two of
them for $19,000 and the other one for $26,000. A few weeks
later a semi-trailer was purchased for $2900 and Eric Lund
gave the "Blue Star" equipment truck plans to two
carpenters--their job was to prepare it for instruments and
uniforms that was not even purchased yet. In December, a
cab-over tractor was purchased for $16,000.
That same week, Jim introduced me to Michael Cesario
who would design the uniforms and serve as a consultant for
the corps. Michael was enthusiastic about this new project
and his enthusiasm encouraged Jim and me.
Jim emphasized the importance of recruiting
instructors and a support staff that could take the corps
down the road.. Both of these groups were equal in Jim's
mind. I want to recognize their contribution because they
were responsible for ma king Star a reality in 1985.
The key instructors and creators were: Larry
Kerchner, John Simpson, Dennis DeLucia, Bob Dubinski, Steve
Suslik, Marc Sylvester, George Zingali, and Mike Cesario.
It is interesting to note that every man accepted and the
question seemed to be: "will we get paid?" The support
staff members, who came to Star that year, were Moe Latour,
Eric Lund, and Dave Crouch. Moe's friendliness and ability
to run the corps on the road made Jim's job easier. Dave
came from Phantom Regiment and was our head bus driver; he
managed getting us down the road superbly. Eric Lund is
still an integral part of Star today. Quietly and
efficiently, he drives the equipment truck, repairs and
maintains all of the instruments. Again, drum corps
experience--Eric aged out in the Blue Stars.
When Star began, there were many corps that were
having financial difficulty. Several of the prospective
staff members, whom we interviewed, had not been paid for
one and sometimes two years. It was very difficult to
convince them, as a group, that they would be paid; however,
they accepted our word that they would. Some of them were
bitter and some of them were hurt by the perception that
they had been previously taken advantage of. If there was
any single hurdle that Jim had to overcome with Star's first
year staff, it was trying to get the staff to believe that
they could trust us and that we would meet our commitments
to them.
In October, Jim decided that it was time to get new
members and to name the corps. When the corps was
incorporated as a 501.c3, the original name on the charter
was "Hoosier Assembly." A contest was suggested for naming
the corps and an advertisement was circulated through the
Bloomington newspaper and our company. Hundreds of
suggestions poured in but in the end "Star of Indiana" was
selected and the winner was Larry Kerchner's wife.
The 1985 membership poster and advertisement were
put together. Jim told me: "all I've got to sell is hot
air!" He designed the ad with pictures of the new caption
heads surrounding Bob Knight, Indiana University's
basketball coach. What Bob Knight had to do with drum
corps, I still don't know! Hundreds of leaflets and posters
went out to high schools and colleges in four states with a
note from Jim saying: "Band Directors, if your students do
not have a summer music program, will you loan them to us?"
Some of the Directors were quite hostile because in
the past, they had lost students to drum corps during their
summer programs. They did not trust Jim that Star would not
siphon their best students.
After Star's first open house, Jim got a call from
an Indiana band director who had six students attend. He
said to Jim that he was counting on them for his summer
program and asked: "what are you going to do about it?" Jim
called all of the kids and encouraged them to stay with the
band program instead of marching with Star. The band
director was shocked and called later; this time he asked
what he could do for Star. As a consequence, Star received
his graduation list resulting in eight more, experienced
players. Star's first camp had over 150 people who
auditioned.
In September, there was an indication that the
Bridgemen were going to take a year off. A couple of
former Bridgemen instructors were let go or refused to
return. In addition, the members were told that their corps
would not be able to make it another year and so a
contingent of Bridgemen found their way to Indiana,
including drum major Karen Ruschman.
By May, it was clear that some additional members
were needed. During that month, Pride of Cincinnati
announced that they would not field a corps in '85 and
shortly afterwards, Ron Poole, Director of Pride, called
Jim and asked if Star ha d any openings. On the following
Saturday, a Star bus headed to Cincinnati to pick up the
Pride members who would become part of Star's drum corps
backbone. And so the misfortune of two corps enabled Star
to field the '85 corps.
The first season Star had a total of fourteen
seasoned drum corps members out of 131. These veterans were
crucial--they helped establish how we got on and off the bus
and what was expected from a drum corps.
The Summer of 1985
There is a nasty side to drum corps and little did
any of us realize the hostile environment that we would be
entering. Rumors mixed with fact began circulating that
Star raided other corps of staff and members. Some corps
alumni and members alleged that Star ruined their corps or
stole their staff. And even before the corps performed its
first show at Normal Illinois, drum corps pundits were
stating that "Star was the best corps money can buy" and
"the Mickey Money Corps;" Star was born to be disliked!
When 1985 was complete, Star had a tenth place finish and
the next rumor circulated was "Cook bought the finals."
These are perceptions; why did the corps receive
such a response? First, there was never any question that
Star would be adequately financed. Even though criticized,
our company made a commitment to drum corps.
I actually believed that other companies would soon
follow our path and either start a corps of their own or
sponsor a corps. Such was not the case; in 1993, Star
remained the only fully corporate sponsored drum corps. I
wish that others could appreciate the value of this activity
and its impact on young people who participate.
In addition, I believe that Star's apparent
efficiency honked many old timers. How did we achieve this?
Simple--Star was built around an experienced staff and
seasoned veterans.
From the beginning, Star was operated as a business.
Buses and trucks were to be maintained, corps equipment was
to be cared for, and the corps was always to be well fed and
housed. Later, we found that it was better to use
professional drivers, to have a trained nurse or fitness
director, and a professional cook. Personal safety of the
membership was an absolute priority.
Several years before Star began, Bob Lendman shared
a secret with Jim which was to fake a bus break-down. Sure
enough on Star's maiden voyage, Jim pulled this trick. The
members and equipment from the 'broken bus" were transferred
to the other two buses which continued on to Normal,
Illinois. After the driver of the broken bus had a cup of
coffee, he started down the road and arrived five minutes
after the corps. The purpose of this exercise was to have
the corps learn through experience what life on the road is
like. We also arrived a day early in Normal so we could
practice going over to the stadium, unloading, warming up,
and even marching to the entrance gate. Good practice for
opening night and it paid off!
On June 16, 1985, Star took the field at Normal
Illinois for the first time; the scores were Cavaliers--
76.9; Phantom--74.4; and Star of Indiana--73.6. Star won
their first high brass award at that show. Mickey Mouse was
born!
Because Star was not a member of DCI, we had to find
our own shows; sometimes we performed for free or for $375.
Many nights, we had to travel hundreds of miles in order to
find work. For example, we traveled from Springfield MO to
Durham
NC without stopping except for fuel and from DeKalb
Illinois after DCM on July 27 to Corning NY for a
performance on July 28. We were national nomads migrating
to any sponsor who would have us.
We arrived in Allentown for the DCI East
Championship, placing 13th in prelims behind the 27th
Lancers, and missing finals for the first and only time as
a drum corps. After the prelim scores were announced, Jim
stood next to the wall at Hamilton Stadium scratching the
concrete aimlessly while pondering what needed to be done to
motivate this new corps.
As the year progressed, our scores were still not
going up and the separation from corps above us kept
getting larger. On August 6, Freelancers were ahead of
us by 7 points, Madison by 13, and Santa Clara by 24.
Apparently, we had stalled and it appeared that we would
place anywhere from 13th to 18th at championship. But we
knew that if we could hold on until we reached Bloomington
for the August 12 "Pride of Indiana" show, the hometown
crowd and new revisions might be enough to makes us
competitive again. When we arrived in Bloomington, our
drivers were dead tired but Jim asked several of us if we
could go out to Pennsylvania and pick up the 27th--two of
their buses were down. If my memory serves correctly we
met them some where in Ohio and they made the performance.
During finals week, television stations and
newspapers were asking for interviews. On one particular
interview, the reporter asked me: "I heard that you are
called the Mickey Money corps;" at the time, this question
did not anger me but unfortunately I shot back (my misspent
humor,) "yeah, it's the best corps money can buy." At the
time this question and comment seemed so innocuous but those
words have haunted the organization and me to this day.
Because Star was not a member of DCI, we had to go
through prelims, quarters, and semis before we would know
whether or not we would perform at the Saturday night
championship. Star won prelims with a score of 84.1
followed by Les Eclipses with an 80.3; in quarter finals we
scored 86.7 followed by Troopers, 85.6, Les Eclipses, 82.4,
Skyriders, 81.1 and Colts, 80.9.
Early in the year, Jim had booked a hotel for our
annual banquet on Friday--none of us thought that we could
make finals on Saturday. After our semi performance "in the
sunlight," the buses were loaded and we headed for the
hotel. No one could keep their mind on the banquet; very
little food was eaten while we waited for semi scores.
Finally at 11:00 p.m., Jim came over to Karen Ruschman and
my table and told us: "9th place, Troopers, 87.9; Velvet
Knights, 86.8; Freelancers, 86.8; Free lancers, 85.9; and
Star, 87.5. It didn't sink in; we thought that we had
gotten 13th and then Karen went ballistic. She went to the
podium and took up the microphone and repeated Jim's report.
We had made finals, unbelievable!
The final night was bittersweet to some of us
because we knew what George Bonfiglio, our friend, was
thinking. The semi-final performance would be 27th Lancers
last as an open class corps. For Jim, it was particularly
sad because he idolized George. His relationship with and
respect for him continues today.
Star's magical year was over but the legacy of that
year would both exhilarate and haunt the corps until it left
DCI membership in 1994.
The PBS Television Broadcast
On the morning of the 1985 championship, I met Don
Pesceone, Executive Director of DCI, and he asked if our
company would be interested in sponsoring the championship
telecast in 1986. I answered that we would be interested.
From 1986 through 1992, our company was either a co-
sponsor or sponsor of the championship telecast. Since
there was no one with television experience at DCI, Don
later asked if I would produce it and I accepted the job of
Executive Producer. I remained Executive Producer until
1992, but our sponsorship continued until DCI took over the
responsibility in 1993. I'm very proud of these
telecasts and had many intelligent people to rely upon.
Tom Blair and Keith Klein or PBS are two indispensable
individuals who taught me that excellence could exist in the
production of a DCI championship. These are the men who
made the DCI Championship a highlight for PBS. Steve
Rondinaro, Michael Cesario, Charles Webb (Dean of IU School
of Music), and Curt Goudy all gave freely of their time.
Most of these men worked only for expenses which says much
for people who are more dedicated to the activity than they
are to self-interest. The television broadcast looked
professional, was expensive to produce, and these men gave
of themselves to make it happen. For the record, the
broadcasting of the championship cost between $150,000 and
$200,000 depending upon the year.
The Summers of 1986 and 1987
In 1986, Jim Prime and Donny Van Doren became new
staff members and I might note that they are still with us
today. 1986 was the year of "Star Wars". George Zingali
mandated that there shall be giant wheels rolling over the
green. These w heels appeared in two shows, were actually
used in one, and then relegated to a sink hole near the
corps hall. This was the year of glitz and glitter!. For
those around drum corps, you may have noted that the music
book became more difficult and more emphasis was placed on a
musicianship. The color guard put on weird wigs and the
corps tried to bore holes in the air with sound. We moved
up two spots to eighth place.
I987 was the year of "Circus;" circus wagons
appeared as backdrops and the corps spent most of the summer
trying to make the props work. Again, glitz was the name of
the game and Star folk were learning the hard way that huge
props were next to impossible to utilize in drum corps.
Some of the members were hurt unloading them.
Frustration is the best word to use for 1987 because
so much time was spent trying to get visuals integrated
properly; in retrospect, time would have been better spent
perfecting drill. When the season was over, many Star folk,
including Moe and me, were seen beating the circus wagons to
a timely demise--we should have wrecked them in June. A
valuable lesson was learned this year--props are difficult
to utilize and they detract from practice in other areas.
We tied for 7th with Velvet Knights with a score of 90.
The Summer of 1988, the year of change
The 1987 season altered Jim's programming
philosophy. He decided to "play the game, win the game, and
change the game." Jim asked me if I wanted to take a
different direction with Star. I asked him to explain and
he indicated that the corps had enough experience and
maturity to eventually make them championship contenders.
He knew that the level of difficulty for the drill and the
arrangements had to increase if we were to break into the
top six and then top 3. I liked the idea because for the
first time, Star would be given a difficult objective to
achieve--to build for a championship.
At this point, we needed stronger technicians. Todd
Ryan who had helped Scouts win their championship was
looking for a new challenge. He was asked if he would risk
coming with Star to further develop the marching caption.
He accepted the challenge, and so Len Kruscecki, Steve
Brubaker, and Steve Suslik had a person who could look at
the performance with new eyes. Todd knew how to fix feet and
clean without destroying the design.. Few props were used
in 1988; the color guard were dressed as southern belles.
This was the year that Carl Ruocco became Assistant
Director. And so in the summer of 1988 Star played and
marched to Porgy and Bess, made a trip to California, and
placed 7th place with a score of 95.5.
The summer of 1989
1989 was another frustrating year for Star; we were
improving, we knew we could execute, and our brass and
percussion lines were scoring well. Star had better marks in
marching and visual but we just couldn't seem to get beyond
the competition who were ahead of us. In retrospect, I
would say that we executed and we had the stamina to win but
I don't believe that Star's "British invasion" had enough
difficulty built in to put us into the top 3. We placed 6th
with a score of 95.3. 1989 was a very strong year for
morale; it was the year that Star realized that they could
be challengers and were no longer considered as the little
pink corps with funny uniforms. (The fuschia uniforms had
made their last appearance in the beginning of 1989.)
The summer of 1990
This was Star's year for a leap. Playing William
Walton's Belshazzar's Feast, the music had a flavor; it was
recognizable but yet difficult to play and execute.
George's drill was superb and Jim Prime's arrangements were
haunting, seamless, and dark. The members loved the music
and wanted so much to please the audiences. The large
scrim intrigued people: "what does MENE, MENE, TEKEL,
UPHARSIN" mean? It drove the old timers nuts because the
corps sounded different than a drum corps
and it didn't quite look like a drum corps. Glitz and
sparkle were all a part of the slight of hand. Many thought
that the corps had new uniforms, but in reality only a
sequin over-the-shoulder piece was added along with a purple
sash. With an incredible mellophone line and some great
drill moves, we moved finally into 3rd place with a score of
96.5 and winning high brass for first of four consecutive
times.
The summer of 1991
Everyone in the corps began to believe that this was
their year. It was amazing to me to see these young people
go out and perform Jim Prime's "Roman Images, the music of
Respighi." And for George Zingali, it was his life wrapped
up on the field; his images of Christianity were woven
throughout the pictures which came and went as Star executed
for him. Our members knew that George was dying and they
knew that they wanted to give him a monument, a memorial in
life.
As sick as he was, he was the backbone and spirit of
the corps. He was driven by desire that few will ever
understand and his will went out to touch us all. On August
4th, Star arrived in Boston. With the help of his care
giver, George arrived at the stadium to meet his corps.
Something happened to him that afternoon--he seemed
transformed, energized. His strength had returned--it was
the "old" George on the field that day--"You've got to be
shittin me!" "That's wonderful!" "Cupcake, you were
terrible!" Late in the afternoon, he told Jim--"the new
closer is not right." A few minutes later, he left the
stadium. None of us knew where he had gone or if he would
be back. About eight o'clock, George returned and said:
"we are going to have two crosses at the finish instead of
one." The next five hours were unbelievable. He ran from
one section to another telling members where they should be
at the end of the final cross. He wanted them to count
measures--"count and run around until time to make your
final set." Hour after hour, the corps tried and failed
but finally, at 2 a.m. the next morning, the cross was seen.
The next night in Lynn, Star put in the new move; needless
to say, there were more than a few wrecks at the end but we
won over SCV by 1.9 points.
Star's greatest performance that year was not at
finals but in Little Rock Arkansas on August 12. Most of
the staff had gone ahead to Dallas, so the corps was on
their own and relaxed. What they did that night will always
be a memory for me. To this day, that performance remains
my favorite while they competed. The word electric fits it
best.
The championship week was anti-climatic because the
corps knew what had to be done and were confident that they
could do it. Even though they were expected to win, they
were focused, relaxed, and determined. In retrospect, I
wish that the field had been cooler (it was 124 degrees) and
I wish that they could have moved a little more slowly
because I wanted to hear the sound that I heard that cool
night in Little Rock. We became champions of DCI for the
first time with a score of 97.30. A truly magical year for
a corps that once wore a pink uniform and were branded as a
rich man's toy.
George
That winter George Zingali passed away, but in the
hospital he said: "Bill, the championship was the most
wonderful night of my life." George still remains a part
of the fabric of Star and I know that other corps cherish
his memory as well. What more can be said of George
except he lived to create, inspire and teach.
I would like to digress a moment and talk about what
it takes to win a championship. First, a corps must have
experience, a work ethic that goes beyond saying "I worked
hard" because working hard on the wrong things will
eventually ruin a corps hope for success. I believe that
staffs win championships. A corps director must
instinctively know where to place the emphasis and the staff
must have a music and drill book that is sufficiently
difficult. A championship book must appear to be seamless--
it must flow and the members must be sufficiently
accomplished to make their actions appear easy. If the
spectators perceive the work as being easy but executed to
perfection, then the staff has done its job and the corps
has learned their lessons well. Physical conditioning also
is an integral part of the success formula--every member
must be able to finish.
The summer of 1992
Jim and the staff wanted to try to make Star more
accessible to the public. They were ready to go back into
time and perform a book that would hopefully be
identifiable. And so "American Variations" was designed.
Jim wanted to experiment with a form of visual that utilized
body motion, executed by the entire ensemble. This
experiment was tried in only one number, "Amber Waves" and
it appeared that motion had a favorable impact on the
audience. To the folks seeing the show for the first time,
body sculpting appeared be a gimmick, but as the year wore
on we knew that visual body movement should be explored
further. It had to wait until 1993.
Star folk loved this show; it was beautiful and many
fans identified with it. The last week, a giant scrim was
thrown up; a 40 feet high by 60 feet wide Lady Liberty
covered the front of the entire corps. It was a great
visual but not one that was universally accepted (said with
a grin.) We ended our season with a second in Madison with
a score of 96.9--0.2 behind the new champions, the
Cavaliers.
Another friend and staff member left this life in
1992--Wesley Johnson. His easy smile, beautiful agility,
and his love of teaching will be remembered by all of us who
were privileged to know him.
Jim Mason's psyche in 1992
For Jim, 1992 was a pivotal year because the show
was designed for a broad audience appeal and the result was
a hostile crowd. At that time, he decided to explore
different directions. His frustrations led him to the 1993
Medea program be cause he wanted to give the organization a
vehicle where they would be in control of their performance
from beginning to end. Looking back at Medea, there were no
opportunities for the audience to react until the show was
over. This concept made some of the audience uncomfortable
and created even more controversy. I guess that was Jim's
vengeance. Also at that time, he began to contemplate doing
something other than drum corps with the Star of Indiana.
Perhaps the seed of Brass Theater was planted during this
period.
The summer of 1993, the year of the bitch
The "Medea" show was music by Bartok and Barber.
Again, Jim decided to experiment with body motion executed
by the entire ensemble. He asked the visual people to
design a stark show which would be portrayed by contrasting
colors and shapes--triangles and straight poles. The 1989
uniforms were replaced with a cream and black uniform. He
did not want visuals to detract from the drill or body
sculpting; the music was to be arranged to enrage and anger.
It was not supposed to be sweet and lilting. Suffice it to
say, the audience responded properly but the raw discordant
sound grated on me at the beginning of the season--I was
irritated after each performance. When the show was
finished, it was beautiful to watch. And today, the 1993
show stands out for me as my favorite.
The drill intensity, blatant bursts on the horns and
discordant percussion were intriguing . I'm probably nuts
but I actually enjoyed getting irritated--Medea was truly a
bitch. Our final score was 97.3 for second behind the
Cadets with a 9 7.4.
Retrospect, 1993
I'm often asked and I'm sure the members are asked:
"Didn't you think that you should have won?" Hey, I think
that Star should always win but that is not the way life is
played. The beautiful part of drum corps is that there can
only be one champion and in 1993 it was the Cadets. Now,
what about the members? Were they disappointed? Come on--
sure they were. But after a few tears were shed, most of
them headed for supper and a few of them were looking for
rides back to school. Like many other corps, we were all
glad to leave Jackson--it was hot, it was humid, and it
rained!
Championship week for Jim and me was bittersweet.
The week was exciting and had the best of what drum and
bugle corps has to offer. But our future was already
charted; we would go with the Canadian Brass--win or lose.
When we came back to Bloomington, we announced at
our annual banquet that Star would be leaving drum corps,
would be playing on b-flat horns, and would be performing
"Brass Theater." It seemed like 1985 again when Jim "sold
hot air." He described "Brass Theater" to the members, and
then he casually mentioned that they would have to prepare
for two types of shows, one performed on a small stage and
one performed on a basketball floor. He explained that the
repertoire would exceed two hours in length, that percussion
and brass ensembles would be featured during various parts
of the show. When he finished, I felt warm and fuzzy but
I'm not exactly sure how the corps felt except confused.
After this meeting, I have been asked what the corps members
thought and I can only answer--anxious but understanding.
Star's association with the Canadian Brass
1993 was the year of Star's swan song. In the
early spring, Star, Glassmen, Chicago Vanguard, and Pioneers
gave a stand still performance at Indiana University's
Auditorium in Bloomington. The night before, all of the
corps attended a per formance of the Canadian Brass
ensemble; the auditorium was filled and the crowd received
them with the enthusiasm of brass music lovers. That
evening, Jim and I had been invited to a reception for the
five CB which was hosted by Harvey Phillips, Dr . Tuba
Santa. During a conversation, Chuck Dahlenbach of CB asked
us if he and two other CBers could stay over and watch our
drum corps show on Sunday afternoon. He didn't need to ask;
we would have begged him to do it. In any event, they
attended the performance, and afterward Chuck broached the
subject of how Star could participate with them.
The following Monday Chuck called to ask if some of
Star's percussionists could play on their 'Broadway' CD.
During the time of the recording, ideas started to develop;
several weeks later, we met Chuck and Gene Watts in Florida
and began discussions on how we could perform together. At
the time, I did not believe that the corps could learn two
hours of music and play it with the precision necessary to
satisfy audiences that had very high expectations. But Jim,
Gene, and Chuck thought otherwise. In June we signed a
letter of intent which resulted in a contract that was
signed in September.
We thought that our members deserved a chance to
perform at some of the best venues in the world, to try to
reach a level of excellence that is uncommon for young
people and to be a part of a new genre. The program had to
be two hours in length with twenty two minutes of drill plus
solo features for both brass and percussion little did we
realize what a challenge this was going to be.
The summers of 1994 & 1995, the years of "Brass Theater"
When Jim Mason described "Brass Theater" to the
corps and staff for the first time, none of us actually
could visualize what it was. After two years of watching
and listening, I believe that "Brass Theater" is designed to
entertain--it is not designed to score points nor is it
designed for a football field. It is not a drum corps
performance nor is it a band concert. Elements of drum
corps exist in this genre but it is not drum corps. There
are elements of opera, broadway musical; circus, and
symphony, but even these idioms only partially describe
"Brass Theater."
The term today has come to mean -- an ensemble that
performs on a sixty by one-hundred foot stage. The music is
selected for audience appeal and the visual enhancements
incude marching, dancing, color guard work using flags,
poles, rifles, sabers, and other tools found within the
colorguard armamentarium. Electronic amplification and
synthesis are used as well as theatrical lighting, back
screen projections, and other props to enhance the
performance. Music and the visual elements are designed to
elicit emotion from the audience.
The ensemble has had to learn two separate shows;
one show is designed to be performed on small stages--this
is an "in-concert" formation and it is NOT "Brass Theater."
"In concert" formation is performed on small stages where
marching and color guard work are not practical or are
minimized. On the other hand, a "Brass Theater"
performances includes all of the elements mentioned
previously utilizing both G-bugles and B-flat horns
including trombones, tubas, and french horns.
The venues have differed greatly during the last two
years. Concerts have been performed at Tanglewood, Ravinia,
Wolf Trap, Lincoln Center, Hollywood Bowl, Interlochen,
Columbus Zoo Amphitheater, Joliette Quebec Amphitheater,
Tanglewood (Winston-Salem NC) and several other outdoor
concert sites generically called "sheds."
"Brass Theater" is normally performed on a
basketball floor converted to a stage. These venues permit
the use of stage lighting and large backdrops. Examples of
the "Brass Theater" venues are Indiana University Assembly
Hall, St. Paul MN Arena, Cedar Rapids Iowa Conference
Center, Buffalo New York Memorial Arena, Illinois Normal
Arena, and other facilities where seating is tiered and the
total capacity normally exceeds 15,000. CB/Star's largest
crowd to date has been 18,000.
These last two years for Star members have exposed
them to entirely new audiences that are primarily made up of
families and music patrons who have little exposure to drum
corps and who attend musical events regularly. The crowds
have been enthusiastic and have responded typically with
three and four standing ovations. We were favorably
adjudicated by several newspaper performing arts critics and
I will be happy to send anyone an e-mail of these critiques.
Because either concert is performed only once in a city,
critics did not always attend.
I saw every performance during 1994 and 1995 and I
can only say that they have been thrilling to watch. In
1994, I gave Star/CB a final score of 99.5 and in 1995, a
score of 99.8. (Nobody is perfect so I couldn't give a
perfect score but if we all keep trying, we might get it
right someday.) In summary, these were not stressful years
for the corps because there were no competitive pressures.
The pressure came from wanting to perform perfectly for an
audience that would impartially adjudicate them.
Contributions to DCI and other corps
From 1985 through 1993, Star, Jim Mason, Cook Group,
and I tried to make a difference in drum corps. Jim, the
staff, and I served on task forces both as members and
advisors to DCI. Jim was the official member of DCI and I
served as an advisor from 1987 through 1992. When we
left DCI, Star or the Cook Group had contributed over $1.5
million to DCI and to other corps.
Star sponsored all four DCM All Star appearances at
the New Year's Cotton Bowl, Orange Bowl, and Fiesta Bowls
(twice) in addition to the first Macy's Thanksgiving
parade appearance of the DCM/DCE All-Stars; the appearance
of Phil Driscoll at the Kansas City World Championship who
played the "Star Spangled Banner," trumpet solo; the
appearance of DCA's Steel City Ambassadors at the 1990
World Championships in Buffalo. Jim headed the All-Star
drum and bugle corps that played two "Star Spangled Banner"
renditions in both Madison and Kansas City. (These corps
consisted of 1200 and 1500 members respectively. The first
one was under the direction of Pepe Nataro, a friend who is
gone.)
Corps that have received either prizes, grants or
loans from either Star or Cook Group are: Colts, Troopers,
Phantom Regiment, Magic of Orlando, 27th Lancers, Crossmen,
Velvet Knights, Spirit of Atlanta, and eleven other
organizations. The amounts ranged from a minimum of $1,000
to $150,000.
In addition, Rick Snapp, a Cook computer manager,
and I wrote the financial, sales order, and championship
ticketing programs that DCI has used since 1990. DCI's
three computers were given to DCI by Star. Cook Group
Companies sponsored an d produced the DCI World
Championships for five years.
Star founded on behalf of DCI the DCI Foundation
which still maintains an office in Bloomington and
administers such scholarships as those given in the names of
the Americanos, George Zingali and others.
Employees of Cook Group and a large contingent of
former corps members from all DCI corps staffed the
hospitality tables stationed in five to seven hotels through
the various championship cities.
For all of us drum corps was not just Star, it was
the entire activity. Yes, this information has not been
discussed until now, but Star members and their friends
deserve this explanation. If there must be an epitaph for
Star, for Jim, for me, and for Cook Group, it should be--we
tried!
A Personal philosophy
I believe that all humans are to some degree
competitive, moody, happy, sad, angry, tranquil, and
cooperative. The Drum corps experience is guided by
association with many different personalities who have
joined together in an attempt to achieve and possess the
above traits to a greater or lesser degree.
I believe that drum corps organizations can only
point the route but not predict the destination.
I try never to fear change, I enjoy risking the
unknown, and I try to seek guidance through previous
experiences. The path to a goal is not always clear and
instead of 'Ready, aim, fire!," it may be better to "Ready,
fire, aim!"
I believe that a human should be prepared (ready) to
act, then act (fire), and finally analyze what was done
(aim.) Instinct exists in all of us but so often we fear
the unknown to the extent that we are incapable of action.
I ask readers: "do we always need to analyze and discuss
before acting or should we learn how to react based upon
circumstances and cumulative history of the past?"
(Invention is based upon instinct and then trial but status-
quo is based upon copying.)
I believe that if one goal is reached, there should
be another goal waiting. If failure results, try again and
again. You have all heard this before but "do you believe
it?"
A personal perspective on drum corps
I believe Star and other corps members strive to be
better humans as a result of their drum corps experience.
I believe that Star and other corps members are products of
many points of view and they are surrounded by teachers and
people who care about them. Within their organizations,
they are respected for what they are--young people seeking
their way in life. In return, they are loyal and very
proud of what they have accomplished.
I believe that Star and other corps teach pride in
personal accomplishment which is achieved by honesty and
work.
Star's staff, 1984-1995
Jim Ancona, Percussion Instructor/Arr, 93-95
Charles Anderson, Caption Head, 88
Bill Armstrong, Star BoD, 91-95
Dave Asa, Brass Caption Head, 87
Kristi Avilla, Auxiliary Staff, 91-92
Chris Bartholomew, Brass Instructor, 89
Tim Bartholomew, Brass Instructor, 88-89
Eric Beck, Brass Instructor, 94-95
Lee Beddis, Percussion Instructor, 93
Denise Bonafiglio, Color Guard Instructor, 93
Carol Brown, Uniforms, 85-90
Steve Brubaker, Visual Des/Caption Head, 88-89
Philip Burton, Vis Designer/Stage Dir, 93-95
Pat Butler, Visual Instructor, 87-94
Sandy Butz, Visual Design Consultant, 87-90
Allen Casey, Guard Instructor, 87
Michael Cesario, Costumes, 85
Alyssa Cimino, Guard Instructor, 85- 86
Mark Cole, Production Staff, 95
Wanda Conway, Guard Instructor 85-86
Bill Cook, Star BoD, 84-95
Gayle Cook, Star BoD, 84- 95
Jeanne Coonan, Brass Instructor, 92
Jonathon Corley, Percussion Instructor,91-93
Ray Cramer, Conductor, 94-95
Dave Crouch, Transport/Ass't Dir, 84-94
Sadie Cummings, Guard Instructor, 85-86
Darin Dalton, Visual Instructor, 90
Gerardo Davila, Percussion Instructor,90
Dennis DeLucia, Percussion Caption Head, 85-89
Barry Doss, Costume Designer, 95
Nancy Dreher, Executive Secretary, 84-95
Bob Dubinski, PercInst/Caption Head, 84-95
Alicia Elliott, Ass't Choreographer, 94-95
Cindy Epson, Promotional Assistant, 86
John Evans, Percussion Instructor, 87-89
Lee Ann Evans, Color Guard Instructor, 91
Trent Evans, Brass Instructor, 89-91
Steve Ferguson, Star BoD, 84-95
Clark Gardner, Percussion Instructor, 95
Jeff Gooch, Visual Instructor, 94-95
Charlie Gumbert, Guard Instructor, 93-95
Jonathon Gurney, Percussion Instructor,85
Phil Haines, Brass Instructor, 86-88
Thom Hannum, Perc Arr/Caption Head, 90-95
Matt Harloff, Drum Major/Brass Inst, 94-95
Phil Hathaway, Star BoD, 85-90
Tim Heck, Guard Caption Head, 86
Jim Heckman, Production Staff, 84-95
Craig Hedden, Brass Instructor, 86-93
Luther Henderson, Arranger, 95
Rhonda Henderson, Wardrobe, 95
Wendy Hicks, Visual Instructor, 86
David Higgins, Technical Staff, 94-95
David Hochoy, Choreographer, 94-95
Todd Horton, Guard Instructor, 87
Dan Hostetler, Percussion Instructor, 86-90
Barry Hudson, Brass Instructor, 89-94
Bobby Hullett, Drum Major/Visual Inst, 91-93
Jim Jeffries, Brass Inistructor, 85-87
Matt Jenkins, Brass Instructor, 89-95
Melisa Jobe, Visual Instructor, 90
Carl Johnson, Drum Major, 86
Wesley Johnson, Auxiliary Designer, 91-93
Stephen Jones, Brass Instructor, 94
Bill Jurberg, AuxDes/Caption Head, 93-95
Ken Karlin, Visual Instructor, 90-92
Joe Keays, Visual Instructor, 90-95
Kay Keays, Kitchen Support Staff Head, 87-95
Larry Kerchner, Brass Arranger, 85
Len Kruszecki, Visual Director, 88-92
Moe Latour, Tour Dir/ Corps Mgr, 85-87
Chris Lee, Percussion Instructor, 91-92
Allison Lendman, Star BoD, 84,-95
Bob Lendman, Star BoD, 84-95
Karen Louk, Promotion, 95
Eric Lund, Transport/Ass't Dir, 84-95
Lori Lund, Merchandising, 94-95
Jim Mason, Director, 84-95
Bruce McConnell, Percussion Instructor, 85-86
Jeff McKnight, Viaual Instructor, 89-90
Colin McNutt, Percussion Instructor, 93-95
Jenny McVey, Visual Designer, 95
Bob Medworth, Visual Instructor, 87-95
Steve Meikle, Visual Instructor, 86
Jim Miller, Percussion Instructor, 85
Chris Minges, Instructor, 87-89
Brent Montgomery, Percussion Instructor, 91-94
Tom Newell, Percussion Instructor, 89-90
Walter Niekamp, Photo/Production, 84-95
Joan Noble, Color Guard Instructor, 88-89
Todd Parker, Perc Inst/Mus Dir, 85-86
Susan Patton, Medical Support, 95
Ron Perez, Color Guard Instructor, 85-86
Paul Perniciaro, Stage Direction, 85
Charlie Poole, Percussion Instructor, 87
James Prime, Jr., Brass Cap Head/Arr, 86-95
Greg Radcliff, Percussion Instructor, 89-90
Mario Ramsey, Percussion Instructor, 92
John Robertson, Production Staff, 95
Joe Roche, Visual Instructor, 93
Carl Ruocco, Perc Inst/Ass't Dir, 85-89
Karen Ruschman, Drum Major, 85
Todd Ryan, Visual Des/Caption Head, 89-93
Eric Sabach, Vis Inst/Stage Direction, 85-86
John Sanchez, Stage Direction, 85
Rob Santa, Star BoD, 93
Matt Savage, Percussion Instructor, 90
Kenneth Schermerhorn, Conductor, 95
Mark Schleihs, Vis Instrr/Caption Head 86-93
Lori Schnieders, Wardrobe Dept, 94-95
Kevin Schussler, Visual Instructor, 89-93
Mike Schwandt, Technical Staff, 95
Pat Scollin, Percussion Instructor, 87-91
Steve Scully, Brass Inststructor, 85-95
Jeff Secor, Brass Instructor, 85
John Simpson Brass Instructor, 85
Barbara Soules, Wardrobe Dept, 93-94
John Steinke, Brass Instructor, 87
John Steinke, Promotions, 90-92
Judy Steinke, Promotions, 90-92
Phil Stiers, Program Guide, 85
Jim Stock, Merchandising, 85-88
Tom Strachen, Visual Instructor, 90-92
Kirsten Streib, Wardrobe, 85
Steve Suslik, Stage Direction, 85-91
Mark Sylvester, Stage Direction, 85-86
Josh Talbott, Brass Instructor, 94,-95
Asley Tappan, Drum Major, 89-90
Philip Tartalone, Visual Instructor, 87
Tina Tartalone, Visual Instructor, 87
John Tatgenhorst, Arranger, 95
Dave Tippett, Brass Instructor, 85
Linnea Trippiedi, Auxiliary, 94
Peggy Twiggs, Color Guard Instructor, 86
Marilyn Tye, Program Guide, 85
Jon Vanderkolff, Viaual Designer, 93-95
Don VanDoren, Brass Caption Head, 86,88-95
Jay Webb, Musical Direction, 85-86
Mo Webber, Brass, 95
Peggy Webber, Production Staff, 96
Todd Whisler, Visual Instructor, 86
Al White, Technical Director, 94-95
Marc Whitlock, Brass Instructor, 93
Becky (Wood) Hudson, Drum Major/Corps Mgr, 86-95
Jeff Wroblewski, Vis Inst/Caption Head, 87-92
Linda Wysong, Production Staff, 95
George Zingali, Visual Designer, 85-92
--------------------------
For the complete symposium library, visit:
www.geocities.com/marchingresearch/ramsym.html
Stuart E. Rice
Chairman, Marching Virtual Symposium
www.marchingresearch.com
Eigeman
Indiana on the field!
Terri Dittrich
-Terri
"Eigeman" <ei...@adelphia.net> wrote in message
news:v3FWa.7913$gi.43...@news2.news.adelphia.net...
Donnie Solinger
"Terri Dittrich" <terri...@earthlink.net> wrote in message
news:BCSWa.3117$kP6...@newsread2.news.atl.earthlink.net...
> I thought it was great reading, too. Thanks!
>
> -Terri
Ditto!
Donnie
carl vullo
I always knew that Bill Cook and Jim Mason was good for DCI and
Drum Corps . We all are lucky to have them in our club and should be
greatful that we still have them around. Thank you Bill and Jim for
all you have done for Drum Corps.
Carl Vullo
Jamestown,NY
> > >
> > >
> >
> >
Big Rich Soprano
>Drum Corps . We all are lucky to have them in our club and should be
>greatful that we still have them around. Thank you Bill and Jim for
>all you have done for Drum Corps.
What he said in TRIPLICATE!
Big Rich Soprano
Me 4!
Catherine
news:f396d718.03080...@posting.google.com...
> "Donnie Solinger" <Don...@ptd.net> wrote in message
news:<LtiXa.2496$lL.4...@nnrp1.ptd.net>...
> > "Terri Dittrich" <terri...@earthlink.net> wrote in message
> > news:BCSWa.3117$kP6...@newsread2.news.atl.earthlink.net...
> > > I thought it was great reading, too. Thanks!
> > >
> > > -Terri
> >
> > Ditto!
> >
> > Donnie
> >
> > >
> > > "Eigeman" <ei...@adelphia.net> wrote in message
> > > news:v3FWa.7913$gi.43...@news2.news.adelphia.net...
> > > > Thank you for posting this...I really enjoyed it...and I miss seeing
> > Star
> > of
> > > > Indiana on the field!
>
>
> I always knew that Bill Cook and Jim Mason was good
> for DCI and Drum Corps .
Good for EVERYONE.
> We all are lucky to have them in our club and should be
> greatful that we still have them around.
Not.
I think the both of them may mean well as human beings. But the effects on EVERYONE
and their greed? The Star-Blast phenomenon?
I don't think it's been good for drum & bugle corps at all.
-- Catherine
Jeff Ream
well as Bolero.....who knows, maybe Land of Make Believe again too.
Blast realized they could entertain and be profitable...and yet again DCI didnt
listen.
just think, if they sat down w/Cook and picked his brain about how to run a
business and keep the customers happy...wow...they could have 50 mil in the
bank too.
>Subject: Re: Star of Indiana - Recollections (by Bill Cook) [repost]
>From: "Catherine" catherineburr@yahoo!!!.com
>Date: 8/7/2003 11:58 PM Eastern Daylight Time
>Message-id: <BdFYa.2541$Ih1.8...@newssrv26.news.prodigy.com>
Jeff Ream
"I'm the drummer your guard captain warned you about"
Mike D.
> i dunno...thanks to Blast look...we have more corps playing Malaguena again, as
> well as Bolero.....who knows, maybe Land of Make Believe again too.
>
>
Hmm...maybe I should change my mind about Blast!
Mike
Dave Correia
> >Ditto!
>
>
> Me 4!
Bill Cook did a great deal to bring drum corps to the masses. He
thought out the logistics of the activity and saw that it could impact
the lives of many young people. He was willing to spend his coporate
dollars on a little known activity. He sponsored many DCI PBS
telecasts and brought in the technical experts to make the show happen
with more professionalism. He gave a blueprint
for keeping the activity alive. But because he wasn't "drumcorps"
very few wanted to listen to him. Maybe DCI and the whole of the
activity would be in better shape if Bill were still actively
involved.
Dave Correia
Dr. Trumpet
davec...@iwon.com (Dave Correia) wrote:
Excellent points Dave. I'd only change the last sentence by removing
the maybe........DCI would be better off as well as the whole activity.
--
_______________________________________________________________________
If replying by direct e-mail, please reply to alillyatscicandotnet,
where you replace "at" with "@" and "dot" with ".".
_______________________________________________________________________
bill turner
jeffs...@aol.comspamthis (Jeff Ream) wrote:
<snip>
> Blast realized they could entertain and be profitable...
Minor point: of the many things Blast! is, profitable isn't one. It's
lucrative for some folks though.
-- bill
Jeff Ream
>Subject: Re: Star of Indiana - Recollections (by Bill Cook) [repost]
>From: mda...@ets.org (Mike D.)
>Date: 8/8/2003 2:34 PM Eastern Daylight Time
>Message-id: <52b29b90.03080...@posting.google.com>
Jeff Ream
see drum corps wants to reach out to those not drum corps, and have no clue,
yet someone who does have the clue gets ignored.
no wonder Sam Mitchell lasted a year
>Subject: Re: Star of Indiana - Recollections (by Bill Cook) [repost]
>From: davec...@iwon.com (Dave Correia)
>Date: 8/8/2003 2:51 PM Eastern Daylight Time
>Message-id: <8574b5db.03080...@posting.google.com>
Jeff Ream
this is a man who went to sell his company and had an agreement that if the
deal fell thru, he made $50 million.
the deal fell thru.
he made $50 million.
trust me, Cook doesnt make bad deals.
>Subject: Re: Star of Indiana - Recollections (by Bill Cook) [repost]
>From: bill turner bill_ge...@hotmail.com
>Date: 8/8/2003 5:25 PM Eastern Daylight Time
>Message-id:
><bill_gets_stuff-6A...@orngca-news02.socal.rr.com>
bill turner
jeffs...@aol.comspamthis (Jeff Ream) wrote:
> it is profitable, or Cook wouldnt do it,
>
>
> this is a man who went to sell his company and had an agreement that if the
> deal fell thru, he made $50 million.
>
>
> the deal fell thru.
>
>
> he made $50 million.
>
>
> trust me, Cook doesnt make bad deals.
I didn't say it was a bad deal, I said it's not profitable. This is all
a matter of public record; I don't have to guess nor "trust you."
-- bill
Jeff Ream
with ticket fees, souvies, etc...even with all the costs...i'll bet they make
$$
>Subject: Re: Star of Indiana - Recollections (by Bill Cook) [repost]
>From: bill turner bill_ge...@hotmail.com
>Date: 8/9/2003 2:34 AM Eastern Daylight Time
>Message-id:
><bill_gets_stuff-B3...@orngca-news04.socal.rr.com>
Nancy Holgate
jeffs...@aol.comspamthis (Jeff Ream) wrote:
> so, you're stating Blast loses money?
>
>
> with ticket fees, souvies, etc...even with all the costs...i'll bet they make
> $$
check mout guidestar yourself...or go to this link:
http://www.guidestar.org/controller/searchResults.gs?action_gsReport=1&np
oId=263259
Nancy
Jeff Ream
i dont think it's still losing money.
>Subject: Re: Star of Indiana - Recollections (by Bill Cook) [repost]
>From: Nancy Holgate neho...@hotmail.com.spammenot
>Date: 8/9/2003 1:42 PM Eastern Daylight Time
>Message-id: <neholgate-2DA84...@orngca-news03.socal.rr.com>
Big Rich Soprano
>thought out the logistics of the activity and saw that it could impact
>the lives of many young people. He was willing to spend his coporate
>dollars on a little known activity. He sponsored many DCI PBS
>telecasts and brought in the technical experts to make the show happen
>with more professionalism. He gave a blueprint
>for keeping the activity alive. But because he wasn't "drumcorps"
>very few wanted to listen to him. Maybe DCI and the whole of the
>activity would be in better shape if Bill were still actively
>involved.
Or in charge of DCI! Good post Dave.
Big Rich Soprano
who?
Big Rich Soprano
Here comes that BAND music list.
Jeff Ream
>Subject: Re: Star of Indiana - Recollections (by Bill Cook) [repost]
>From: Big Rich Soprano BucSo...@go.com
>Date: 8/9/2003 9:42 PM Eastern Daylight Time
>Message-id: <jn8bjvsgb73nplidd...@4ax.com>
>
>>no wonder Sam Mitchell lasted a year
>
>
>who?
>
>
>
>
>
>
>
Ben Hardy
Mandarins still travel in the Star of Indiana Buses(at a discounted
price I imagine). And just look at Blast. I mean, Blast is nothing
but "THE BEST OF DRUM CORPS" highlight reel. In App Spring, the horns
step over the guard (ala Cavaliers), in Battery Battle, the
blindfolded drum solo (ala Bridgemen), and many others. Even the
musical selections are some of the greatest tunes of Drum Corps
history. The people still involved with the Star of Indiana groups
are THE drum corps people. Honestly, DCI has just now gotten the
points that Bill Cook and Star of Indiana were trying to make in the
last few years of Star's Drum Corps venture. If you ask me, DCI
should swallow their pride, and get Cook DIRECTLY involved again.
Just my opinion.
Ben
Big Rich Soprano
lol well THAT explains why i never heard of him....lol. Thanks Jeff.
Big Rich Soprano
>should swallow their pride, and get Cook DIRECTLY involved again.
>Just my opinion.
Xactly!
Bill Cook
jeffs...@aol.comspamthis (Jeff Ream) writes:
>
>those stats are 2001.
>
>
>i dont think it's still losing money.
***************************************
Revenue: $565,049
Expenses: $790,617
Assets: $10,486,998
Liabilities: $12,382,191
I'm not certain what years these Assets and Liabilities refect but because
of the relative high $$$ amounts, they indicate equipment purchases such as
buses, trucks, instruments, uniforms, etc. Does anyone reading this note
subscribe to the serivice that could tell me the date this information was
published? The revenue and expenses could have occurred during the drum
corps, Brass Theater, or early Blast! years; however, they do not reflect the
present financial condition of the Blast!, Shockwave, or Cyberjam for profit
corporation.
A for profit corporation, owned by Cook Group, now handles Blast!'s income,
expenses, assets and liabilities because there are profits that can not be
sanctioned by a not-for-profit 501c3 corporation called Star of Indiana.
The question has been asked: Is Blast! profitable? Yes, it is profitable.
The show lost a little money in London (12/99 thru 6/00) and NYC but did
revover all financial outlays 13 months later. I hope this answers the question
posed.
Bill Cook
Best regards,
Bill
Bloomington Indiana 47402
William A. Cook
To send a message, remove "junky" from my address.
wma...@aol.com
http://www.starofindiana.com
http://www.cookgroup.com
http://www.blasttheshow.com
bostonpd
RAMD. He is a true legend in drum and bugle corps.
Thanks.
wma...@aol.comjunky (Bill Cook) wrote in message news:<20030810155513...@mb-m16.aol.com>...
Jeff Ream
The numbers on that website were dated from 2001. I have "adopted"
family who works for you up near Syracuse who stated those figures were old but
hasnt yet located updated facts.
>Subject: Re: Star of Indiana - Recollections (by Bill Cook) [repost]
>From: wma...@aol.comjunky (Bill Cook)
>Date: 8/10/2003 3:55 PM Eastern Daylight Time
>Message-id: <20030810155513...@mb-m16.aol.com>
bill turner
wma...@aol.comjunky (Bill Cook) wrote:
<snip>
> The question has been asked: Is Blast! profitable? Yes, it is profitable.
> The show lost a little money in London (12/99 thru 6/00) and NYC but did
> revover all financial outlays 13 months later. I hope this answers the
> question
> posed.
I made the comment that "of the many things Blast! is, profitable isn't
one." And I made that assessement based on the 2001 Form 990 where the
numbers in your post come from.
I didn't make my comment because I'm out to get you, nor to criticize
Blast! Your record speaks for itself and Blast! is very entertaining.
I'm very concerned, however, in people pointing to Blast! as any sort of
business model for other corps to emulate.
At least one (possibly two) former "all about the kids" drum corps
changed its mission statement to that of a "youth band," akin to Star;
and started recruiting to form a semipro Blast!-style theatrical
ensemble. Following parts of your model, in other words.
Were they in fact privately backed as in your case, it really wouldn't
be of any interest; however this organization is backed by community
bingo dollars, and in fact over the course of 15 years, has taken tens
of millions of dollars without offering any "youth services" whatsoever.
I am concerned that other organizations, riding large gross receipts in
the form of bingo money, might also choose to maximize retention of cash
at the expense of youth service programs. We've always had "crooks" in
drum corps, but today there are so precious few corps and so much bingo
money that all drum corps are endangered.
One question about your post:
> A for profit corporation, owned by Cook Group, now handles Blast!'s
> income,
> expenses, assets and liabilities because there are profits that can not be
> sanctioned by a not-for-profit 501c3 corporation called Star of Indiana.
That is a fascinating statement; at what point does profit become
unsanctionable? For instance, BD and SCV each out-grossed Blast! in '01.
How did that work for Star, spinning Blast! back into the private sector?
-- bill
Jeff Ream
Most new ventures lose money out of the gate. thats taught in business
101. you have to spend money to make money
>Subject: Re: Star of Indiana - Recollections (by Bill Cook) [repost]
>From: bill turner bill_ge...@hotmail.com
>Date: 8/11/2003 4:37 PM Eastern Daylight Time
>Message-id:
><bill_gets_stuff-FC...@orngca-news04.socal.rr.com>
bill turner
jeffs...@aol.comspamthis (Jeff Ream) wrote:
> Bill,
>
> Most new ventures lose money out of the gate. thats taught in
> business
> 101. you have to spend money to make money
So, that's the lesson that *you* get, when you consider the Star of
Indiana youth band's brief ownership of Blast!?
I draw far different conclusions myself, mon.
-- bill
Jeff Ream
start a company. show me a profit day one after you have capital
outlay for the tools you need to operate and have little to nothing coming in.
>Subject: Re: Star of Indiana - Recollections (by Bill Cook) [repost]
>From: bill turner bill_ge...@hotmail.com
>Date: 8/12/2003 2:50 PM Eastern Daylight Time
>Message-id:
><bill_gets_stuff-61...@orngca-news04.socal.rr.com>
Catherine
news:bill_gets_stuff-61...@orngca-news04.socal.rr.com...
> In article <20030812001634...@mb-m12.aol.com>,
> jeffs...@aol.comspamthis (Jeff Ream) wrote:
>
> > Bill,
> >
> > Most new ventures lose money out of the gate. thats taught in
> > business
> > 101. you have to spend money to make money
>
> So, that's the lesson that *you* get, when you consider the Star of
> Indiana youth band's brief ownership of Blast!?
>
> I draw far different conclusions myself, mon.
>
> -- bill
Here's another interesting statement from Mr. Cook to add to this mix of ownership,
business, profit and not-for-profit - also an interesting thread in many ways and
with a few posters currently involved in other interesting threads...
REPOST:
http://groups.google.com/groups?hl=en&lr=&ie=UTF-8&oe=UTF-8&newwindow=1&threadm=19990
113230253.24227.00000359%40ng-cf1.aol.com&rnum=73&prev=/groups%3Fq%3D%2B%2522hjshort%
2540aol.com%2522%26start%3D60%26hl%3Den%26lr%3D%26ie%3DUTF-8%26oe%3DUTF-8%26newwindow
%3D1%26scoring%3Dd%26selm%3D19990113230253.24227.00000359%2540ng-cf1.aol.com%26rnum%3
D73
Message 11 in thread
From: WmACook (wma...@aol.com)
Subject: Re: Star of Indiana has a responsibility to return to DCI
Newsgroups: rec.arts.marching.drumcorps
Date: 1999/01/10
In article <19990110093204...@ng-ca1.aol.com>, hjs...@aol.com
(Hjshort) writes:
> They have their own hall in Branson, MO where
> they do a show. Bill Cook expects them to
> show a profit in the next year or so.
Hey, Star probably will NEVER turn a profit; it was not created for profit. We
provide an experience for members and we try to survive by using money
prudently. Very, very few musical organizations turn a profit especially when
there are a 150 staff and members involved in the operation. Like Mandrell or
anyone else who performs in Branson's Grand Palace Theater, it is rented..
Bill
Bill Cook
wma...@aol.com
http://www.cookgroup.com
http://www.cookgroup.com/star
Jeff Ream
>Subject: Re: Star of Indiana - Recollections (by Bill Cook) [repost]
>From: "Catherine" catherineburr@yahoo!!!.com
>Date: 8/14/2003 1:00 AM Eastern Daylight Time
>Message-id: <dIE_a.7101$Ih1.2...@newssrv26.news.prodigy.com>
Catherine
and different activity had to be changed. REPOST below from 1996.
After all, if a 1994 27th Lancers Alumni corps can come out of nowhere and blow
people away...
The only game in town is the only way EVERYONE can maintain "ownership" of the term
"drum & bugle corps" - and THAT's the important "long-term strategy" proven by
actions, words and event despite any press releases to the contrary (unless EVERYONE
is simply stupid, doesn't know what they are doing and won't admit to it).
A&E, Bb/multikey horns, and all the other changes... And then there's EVERYTHING
that EVERYONE does to ensure there won't be some upstart alumni corps coming along.
It's a Pied Piper march into the sea... "Funny" how issues that were more clear
seven years ago (and not wanted) are far less clear now, and the cast of
characters...
-- Catherine
From: Jay R Wise (jrw...@magnus.acs.ohio-state.edu)
Subject: !!The SOLUTION for B-flat vs. G Bugles ***AND*** electronics!
Newsgroups: rec.arts.marching.drumcorps
Date: 1996/08/12
I have a proposition that will once and for all END the debate as to
which is better for outdoor use: G bugles or B-flat brass.
And while we are at it we can end the fuss over electronics.
How? Glad you asked.
Bill Cook should bring STAR back into DCI with their finely made
Canadian Brass B-flat brass instruments and also be allowed to
tinker with electronics.
DCI should grant Star of Indiana a special one-year exemption to return
to drum corps under the following conditions...
- Star of Indiana will be judged, but not RANKED in any competition
(judges will hear, adjudicate, learn, etc., but no corps will be
displaced due to a playing field that's not level).
- Star will receive a performance fee equal to the fee they received
during 1993 (the last season in DCI for them) for each show they do
(this would amount to around $2,000 per show... the same that other
top corps get)
- Star of Indiana will be allowed to perform in exhibition at
regional shows and DCI FINALS, and receive a finals performance
fee equal to that of a top 12 finalist corps.
In EXCHANGE, Star of Indiana would be expected to...
- Field a corps of 128 members, with a horn line NO LARGER than 64
members (which is an average number for top 12 corps).
- Use electronics and amplification, but not for the brass (pit and
percussion only)
- Construct an 11 minute show that is in the same veign as any or
all of the great Star shows in the past. (this doesn't mean
repeat anything, just make a good drum corps show).
- Other than the use of B-flat brass and electronics, Star is to follow
all other DCI regulations (age limit, member limit,
time of show, boundaries, etc.)
This can be a contractual affair, so if Star were to violate any part
of the agreement they would lose their performance fee.
WHY DO THIS?
Simple. As one of the leading advocates of going to B-flat in drum
corps, Bill Cook must truly believe in the superiority of the
instrument. Many of the rest of drum corps are skeptical. Here
is a chance to do many things. Star, in essence, "returns" to drum
corps -- where many have said their presence has been missed. Star
does not lose anything financially (as if they were just doing
drum corps again). Having a guaranteed spot in finals, they should
be able to easily recruit members. Star is a KNOWN producer of
excellence, so they would produce an outstanding show.
And then the answers shall be clear...
No current corps has to risk anything. All of drum corps then has
a chance to DIRECTLY compare the SOUND of a G-Bugle from the best
corps and the SOUND of a B-flat marching brass instrument from the
excellent Star of Indiana. And while we are at it, we find out
whether electronics in drum corps is a good thing or not.
No hooey-balooey about "We did an outdoor brass theater gig" vs.
"Yeah, but you didn't march" and such. No excuses such as "we
can only do electronics in DCE and not DCI so why bother?" This would
be a direct benefit to drum corps -- a side by side comparison.
I don't know about the rest of RAMD, but I am really tired of
these two threads. They used to pop up annually, but now it's
sorta like a sale on Fruit of the Looms at Walmart; it's become
the weekly special!
Let's finally walk the walk and let the experimental corps (Star)
give it a shot.
J.
BTW- <sarcasm alert> this is also a good thing, because the die
hards in drum corps will boo this. Who better to deal with
booing than Star? <end sarcasm>
Catherine
field.
Either Mr. Cook was wrong or he was lying... Or mebbe the enormously flourishing
blando bando corps and the kids involved have simply "evolved" in eight years...
</sarcasm>
I submit that the "Brass Theater" effect - and Mr. Cook's influence - on drum & bugle
corps SUCKS.
Oh, and HI Joey Keays... You were one of the people e-mailing me towards the end of
2000 (before the lifetime suspension) to ignore Nikk Pilato's flames. I also just
learned that Brass Theater stayed at Horlick High School here in Racine in the
mid-1990's. Most interesting choice, all these people who come back to this area...
-- Catherine
Search Result 254
From: William Cook (SKX...@prodigy.com)
Subject: Re: Why not Star at DC shows?
View: Complete Thread (4 articles)
Original Format
Newsgroups: rec.arts.marching.drumcorps
Date: 1995/05/09
Richard - As previously mentioned in a post, we will have trouble in
performing DC shows because of our schedule. Sure, we'd love to do it
but only if our buses go near a show.
Because our venues are different, the complete aspect of 'Brass
Theater' is next to impossible to demonstrate on a football field. We
performed at 4 DC shows in '94 and probably will do the same number this
year but where? -- I can't answer yet. One night we filled in for the
Crossmen that couldn't make their performance and if we can help out like
this we will. We are selling out venues now because of our experience
with the new audiences--If you want to see what it's all about, it would
be best to see a BT at one of our venues. Even though we do drill and
aux work, a lot of the effect is generated with lighting.
Bill
Catherine
> One question about your post:
>
> > A for profit corporation, owned by Cook Group, now handles Blast!'s
> > income,
> > expenses, assets and liabilities because there are profits that can not be
> > sanctioned by a not-for-profit 501c3 corporation called Star of Indiana.
>
> That is a fascinating statement; at what point does profit become
> unsanctionable? For instance, BD and SCV each out-grossed Blast! in '01.
>
> How did that work for Star, spinning Blast! back into the private sector?
>
> -- bill
Here's an interesting REPOST - particularly when juxtaposed alongside the MENC Ethics
Statement concerning professional groups and music education. I would also add it's
interesting the effects of Star, Brass Theater and Blast! on drum & bugle corps as a
unique, special and separate musical genre that used to serve a diverse spectrum,
most of whom had no other interest and/or avenue in music save drum & bugle corps.
Music education, indeed!! <not>
-- Catherine
Search Result 79
From: Bill Cook (wma...@aol.comnojunk)
Subject: Re: Star of Indiana returning???
View: Complete Thread (39 articles)
Original Format
Newsgroups: rec.arts.marching.drumcorps
Date: 2000/09/20
In article <8qafd8$5...@news.csus.edu>, "Zak Winnick" <z...@surfscape.org> writes:
>Not to dump on you or anything here, Bill...I just find it interesting that
>you (and almost everybody) refers to Brass Theater and/or Blast! as "Star".
>I don't know if you guys (refering to anybody) pick up on this, but I seem
>to notice it a lot. I have been forced to believe that these two units are
>supposed to have nothing to do with Star of Indiana (well, except Brass
>Theater, but I still don't understand that). I also find it interesting that
>it is stated, "Star will not field a corps anytime soon." Anytime
>soon...hmm...makes you wonder, eh? I know that it probably will never happen
>during my years of eligibility, but I'm willing to bet Star comes back
>before or in 2010. Anyone want to get in on this?
Zak - Star of Indiana is a corporation that produces shows called Blast or
Brass Theater. It also produced shows when it performed on a football field as
a Drum and Bugle Corps It is incorporated as an organization that exists for
the purpose of music education. Members of Star are cast members or corps
members. They receive their checks and are insured by Star. All bookings and
contracts are made by Star of Indiana. Through its goals/objectives, the
organization embraces discipline and achievement in music. In addition to
producing musical shows, Star of Indiana also teaches three youth bands whose
members receive instruction for 7 months in winter and spring.
LIke Lord of othe Dance or Riverdance or Mama Mia, Brass Theater and Blast
are names of Star's shows or performances. I hope this clarifies the
differences.
Bill
William A. Cook