ADDRESS:
Starting a Drum Corps - Glory
Mr. Timothy Cardinal
Some of you may recall I wrote a paper for the 1995 Symposium. At that time I was in the
process (the paper work stage) of starting a drum corps - Cincinnati Glory. The paper touched
upon an array of topics - community drum corps, competition, B flat instruments, educational
philosophy, playing more music than just the 11 minute show - from a rather idealistic (and
naive) viewpoint.
It has been two years since then and this paper is an update (an excuse for this papers grammar,
discontinuity and purpose: I was offline for over a year and just went online earlier this week
and started typing just 3 hours ago). What follows is a look behind the scenes, often not pretty - a
tale of struggles. Call it life on the road with Glory - a roller coaster ride. Even behind the
polished performances of well established corps are under staffed under-resourced programs
fighting to provide the best services they can. For a new corps with no alumni base, no steady
source of income, capital needs, no logistic systems in place, and no one with experience in the
positions or jobs they are performing its often a wonder how we make it through each day.
It doesn't take as much money to start a corps as you would think, just a lot of hard work and
determination by a few committed individuals.
From the beginning I have treated it the same as starting a small business, only more risky. It
was important to earn credibility; therefore our publicity always was prefaced with statements
such as "we hope to, our goal is to, etc." We only made promises we could keep. We had made
the decision to only grow our programs as we raised money - we would not borrow funds. That
fall, after a year of paperwork and organization, I decided it was feasible to have our first
camps, others thought we should wait.
Our entire organization has always been all volunteer including our educational staff. Some
individuals have had the best intents but never were able to follow through with the time or work
necessary to help the corps (the number of people who have wanted to help and said they had
always wanted to start a corps ... were the ones who never could find even a half hour in a six
month span to do even simple tasks).
Since the beginning we have had our graphic design for posters, program guides, newsletter
layout and films donated. That has allowed us to promote and market our programs. Glory held
its first camp December 8-9, 1995. The beginnings were humble. The corps used band
instruments and borrowed battery (all we owned were 30 flag poles we just bought) - but finally
the program was off the ground - there were warm bodies (50 kids: 24 brass, 2 guard, 0 pit).
Used battery percussion ($3000) was purchased in January of 1996 with grants from the Ohio
Nation Financial Services ($1000) and the Community Arts Fund ($1500). We got the snares
and tenors in February and the bass drums in June. A $20,000 grant from the Greater Cincinnati
Foundation was awarded that April. In September of 1995 they had issued us a challenge grant:
receive $20,000 if we could raise $180,000 in 6 months. I don't think we raised more than
$10,000. I am certain that without a program we would not have been awarded the $20,000.
Without the grant, Glory wouldn't be here today. This grant allowed us to purchase used bugles,
uniforms, and used pit equipment. Each uniform costs $110 for jacket, pants, shako, plume and
sash.
Winter camps were rough: under 20 kids at times; by summer we went thru 5 guard instructors.
Glory's first public performance was February 17, 1996 for the MardiGras in Covington KY.
The 1996 Season was filled with performances at festivals, parades and two standstill
exhibitions at two drum corps shows. The corps held its first concert at the brand new arts
facility downtown (the Aronoff Center) including the premier of "Gloriemusik" by Cincinnati
composer Wes Flinn. The season concluded with the honor of providing the musical
entertainment at "An Olympic Homecoming" a tribute to area Olympians on Fountain Square
telecast live on the Cincinnati NBC affiliate.
Except for the parades we were strictly standstill. No we didn't really have a syllabus, our
educational philosophy was sketchy but given the circumstances it seemed acceptable. We only
had rehearsals on Saturdays - attendance ran at about 60% (for about 30 members). We never
had all 4 bass drums at same rehearsal. We did play lots of music.
The 1997 Season brought new challenges - the corps would move (on the field and by touring).
Wanting to be ahead of the game, I required a syllabus, an time schedule to complete major
objectives, and selection of our non-show repertoire. We chose our show music (Candide) in
July.
Aside: none of our 60 members in 1997 had ever competed in junior drum corps; 90% were
from Greater Cincinnati; 12% had no prior experience at all (e.g. a cheerleader was dragged
along by her friends to be in the guard - by the way she will be awarded Most Improved at our
upcoming banquet).
At our first two camps we had over 90 kids (45 brass, 5 guard); we even had 10 contras at the
second camp). Camps 3-6 we had in the upper 70's (low 30's in brass). In March we decided to
write drill for 36 horns (only 2 upper brass holes at that time).
We learned we would be in 3 DCM shows plus DeKalb and 2 DCI Div II/III shows plus Orlando
(a total of 7 shows, 5 of which we pay to be in). That decided the lease vs buy issue - we
decided there was no reason to buy buses. Although one of our highest priorities remained to buy
a trailer to transport equipment (we still do not own a trailer). We ended up renting a straight
truck to transport equipment (no shelves etc). One of my roles on the road was being the truck
driver.
The Community Arts Fund awarded another $1,500 grant. Klosterman Baking Co agreed to
donate bread for the year.
Some of our staff had attritioned by mid-winter. Still no syllabus, no non-show music, no
objectives and the design team was far behind as there was very little communication. By late
winter, our Program Director resigned.
Aside: In retrospect, one of the worst decisions I have made was to pursue a business strategy to
generate future revenue by sponsoring drum corps competitions - I believed we could market
and run shows and make money. We agreed to sponsor a show in Dayton in April of 1996 with
the agreement we could keep the show in the future knowing we would lose money that year, but
viewed it as an investment for future earnings. We also co-sponsored a DCI show. We invested
over 3,000 man-hours to help make that show a success. We placed all our eggs in one basket -
sponsoring drum corps shows. In January 1997 we learned we would not be sponsoring either
show - thus our planned future revenue had no future. Despite our sacrifices the mountain
became that much higher to climb. How would we secure resources? end Aside
The design team now worked together as communication increased, although we were 5 months
behind schedule - they worked hard to make it up. We had objectives for camps, staff was more
determined than ever.
April drill camp went fairly well (considering we taught more sets than most of the kids had in
an entire school show and hardly anyone had ever used a coordinate system). The two May
camps rained liked the dickens - water was standing on the fields - we had yet to teach closer.
Major big time help came when we needed it the most: a $10,000 grant from the Corbett
Foundation (the *big* arts Foundation in Cinti synonymous with the Cincinnati Conservatory of
Music, the Opera, Symphony, Ballet, etc).
Around Memorial Day is when the numbers declined. An original member (at first camp Dec
1995 - never missed a rehearsal) dropped out. We started talking about downsizing the drill.
During the second weekend of June we told the corps we were rewriting the drill for 24 horns
instead of 36 (we had 22) and also downsized drill for battery and guard. We would teach the
show during our Death Camp starting at 2 p.m. June 11 to June 15: our first show was June 17.
The drill was adjusted for 24 horns by primarily increasing the intervals with changes in forms
as necessary. Needless to say what was well designed for 36 didn't always work for 24. Two
kids dropped out on June 11 (after we had rewritten the drill) including 1 vet. During camp last
minute preparations were made: keyboard stands, a drum major podium was built, the last
uniforms were fitted, etc.
June 15, 1997 became a defining moment in Glory's history: the first full field show in full
uniform. As the corps circled together afterwards there wasn't a dry eye to be seen; tears were
rolling off cheeks, members and staff hugging each other, emotions ran rampant. It was a
moment everyone present will remember for the rest of our lives. it was an experience worth all
the sacrifices and endless hours of hard work.
June and early July was just learning how to get on the road and load the truck. Problems that
seem simple - when do you eat dinner if you perform at 7:00 and it takes 1.5 hours to load the
truck and 1 hour to unload the truck and staff wants 1.75 to 2 hours to warm up before a show?
July:
Saw Men in Black between 2 parades on the 4th; pool party afterwards. Left next day for Dixon
IL - the bus and truck left separately from Cinti. It took 5 hours to pack the truck which had all
the sleeping bags and didn't arrive until 6 am. The truck broke down on the way from Dixon to
camp our housing site for the week in IL (again sleeping bags are on the truck - finally a lesson
learned). The bus got lost in a corn field looking for the school - bad map from a map software
program.
Yes, the corps woke up at 3 am to prepare for the 8 am Prelim performance (we had adjusted our
schedule during the week). Glory became the second corps in history to be a DCM Finalist in its
first competitive season. (I hate stating accomplishments in terms of scores or competition, But
the corps being able to perform in front of the finals audience and the ovations they received and
that they began to believe in themselves made it very important).
In the spring since we only had 1 show scheduled from June 26 to Aug 2 (that being DCM
Championships) we planned several local performances including a Riverbend concert during
the Phi Mu Alpha National Convention and another indoor concert downtown July 30 at the
Aronoff featuring the world premier of *Bridgework* by Wes Flinn (note: 25 of our 35
performances in 1997 were local).
August:
By August 2 it was time to focus on the field show again (Aug 3 show got canceled). Performed
in exhibition Aug 6 at Centerville's Soaring Sounds - large crowd responded well (although the
rust showed with serious phasing). Even though the truck company knew since spring we needed
a 26 foot truck for Aug 5 to Aug 17, only a small bread truck was available on the 5th - a 22 foot
truck would be available the night of the 6th. The bread truck couldn't go over 40 and was
bumpier than you could imagine. After our Centerville performance I drove to Cinti to exchange
trucks so we could load up the 22 foot truck after retreat for our trip Orlando (they forgot). So I
drove back to Centerville - the crowd was just letting out. With the bread truck and lots of cars
and vans we packed everything up by 2 am and headed for Cinti. Got the 22 foot truck in the
morning and started loading up the bus and truck. Finally left for Rocky Mt at noon. 13 hours
later we arrived at our housing site - but there was no one to let us in - having arrived an hour
earlier Jersey Surf was already sleeping on the parking lot. By the time someone let us in (3 am)
we didn't wake the members up - wake up time was 4:30 am so they could shower. Turns out
even though they showed us where the showers were, they forget to turn them on - no showers.
Prelim performance at 8 am is good but by no means near rehearsal performances - sections and
ensemble had problems. With lots of curiosity over placement and finals we talk to the corps for
the first time about scores (its against our philosophy to discuss scores - its not how we measure
progress): 10th place at Rocky Mt, 3.5 points?? from making Orlando Finals (although 3
potential finalist corps were not at Rocky Mt), the guard was 2nd and the corps was 2nd in GE
visual. The next two days of rehearsal were intense (wake up time is 5 am); We had our best
facility of the year - a very high press box with a view - we went the whole year watching
rehearsal at ground level (except for 10 hours in June with a 15 row stadium). We departed for
Orlando. When we arrived we were forced to sleep in a barn. The next day we settled into our
facility. For the few that saw us, our Prelims performance was by far the best performance of
the year. the rest of the week the kids had a blast: Div II/III finals Tuesday night, I&E on
Wednesday (Glory had a great showing - 7th on Keyboards, 8th place on Baritone, a 93.4 on
Snare, brass ensembles finished 9th and 14th - ensemble #1 earning the only perfect music effect
score), Disney all day Thursday, a water park Friday morning and afternoon, semi-Finals that
night, the Melbourne beach during the day on Saturday, Finals that night followed by the bus
ride home. We shared housing during the week with Blue Devils B, it was drum corps
comradery at its best.
I can't begin to describe the real rewards of the drum corps experience; the benefits for the kids.
By volunteering for a corps you will see that the more you give the more you receive. Some
evidence: since the kids didn't know what they were going to do in the off season we held a
picnic October 11 - over 80% of the members with parents and friends attended.
In closing, I would say the most difficult task in starting a corps is getting other people to buy
into your dream and then in the process make it their dream. I have tried to make the corps a
democracy. My early attempts to make it "our dream" have resulted in many failures. Bill Cook
wrote a while back on RAMD about running organizations (and specifically corps) by a
democratic approach vs. a dictatorship (concluding the successful ones are run by a dictator).
Based on my experience so far I have to agree. After two years of being a democracy, Glory is
entering the 1998 season on the (benevolent) dictatorship approach.
After two years what's left after the "distillation" process are volunteers that are in it for the right
reasons, people that keep sacrificing and giving more to benefit the kids. I cannot believe the
level of sacrifice and commitment some of our volunteers and staff are making. It is now our
dream. We are truly blessed.
The 1998 Season looks very promising. We finally have a curriculum (with syllabus and
objectives for the year broken down by camp etc), the design process is ahead of schedule, each
section has developed its educational materials, our educational staff (now numbering 20) is
extremely dedicated and works very well together. As a result of the educational program and
hard work by the percussion staff we have entered into several sponsorships: Premier, Sabian,
Vic Firth, Xymox and Universal Percussion.
For those starting corps, I would urge fiscal responsibility - it is very tempting to think if we
build it they will come. Do not plan on dollars and/or help to materialize in the future from the
drum corps community. Counting both show fees from competitions and donations from existing
fans, we have received under $1,500 to date. The support from local drum corps fans has been
non-existent (only a handful of fans have donated). Our volunteers and supporters are for the
most part all new to drum corps - our support staff is very small. The help side is where it hurts
the most. Starting a drum corps is more than starting a second full time job - do you have what it
takes? (cause it keeps taking and taking - sometimes I wish I never knew drum corps existed).
Best Words of Wisdom I Have Received: Don't worry about the quality of instruments you buy
(used vs new); it's the quality of education and services you provide; that's why kids will come
and why they will return. (i.e. its people who make the difference)
Other Wisdom: Think over your transportation purchases carefully, you are literally "marrying"
the buses you buy - for better and *worse*.
Due to the Symposium posting deadline I close with one last question (at some point I plan to
document what we have learned so others can benefit and not have to repeat our mistakes). How
does what Glory has accomplished compare with the holistic educational approach outlined in
my 1995 paper? In regards to our educational programs, we set our standards and expectations
extremely high. We have a longs way to go, but we know where we are going. Based on what
we have accomplished with so little, I am confident that by the end of the year we will need to
set our standards even higher.
Finally, below I give Glory's Financials.
FINANCIALS: Fiscal Year 1996 and 1997*;
(*Fiscal Year ended 9/30/97; 1997 entries are current best estimates).
Revenues 1996 1997
Donations 28,000 16,200
Events and Fund-raisers 5,750 (800)
Merchandise 300 200
Performance Fees 1,050 5,000
Tuition 5,300 22,500
Total Revenues 40,400 43,100
Expenses
Administration:
Postage, Supplies, Communication, Regulatory 500 900
Salaries -- Management & Administration 0 0
Equipment:
Brass 8,300 4,700
Costumes 3,700 7,400
Guard 400 3,100
Maintenance 0 300
Percussion 7,200 8,200
Transportation 0 0
Other 600 300
Education:
Education Supplies 1,200 3,200
Food 2,300 6,000
Insurance - Vehicles 0 0
Rehearsal Facilities 1,100 900
Staff - Expense Reimbursement 100 7,200
Transportation 2,300 13,500
Other 200 900
Total Expenses 27,900 56,600
Surplus 12,500 (13,500)
Glory's budget is revenue driven; expenses are not budgeted until funds have been raised. Our
1998 Revenue Goal is $85,000 to $90,000 with a Grants/Donations Goal of $30,000.
Financials do not reflect in-kind donations or services and many expenses paid by individuals
such as vehicle usage, gas, parking, food, postage, phone, instructional supplies and equipment.
The largest in-kind service in 1997 totaled $12,500 in layouts and films for marketing materials
and newsletters.
For those of you in corps looking at the Food Expense line that think we starved our kids in 1997
- they ate very well - we had a lot of food donated and a truly amazing volunteer.
Sincerely,
Tim Cardinal
Executive Director
Cincinnati Glory
PO Box 428813
Cincinnati OH 45242
http://www.geocities.com/Colosseum/Arena/8285/