Leaderboard

Pidget, please know that the best wishes of all us here go to you. It's going to seem a daunting task at times...but stick with it. If you haven't discovered it by now...and at risk of sounding like a pollyanna...it's sort of a "family" thing. Some here have years and years of experience in both marching AND teaching at the highest level. Others have marched. There are those who marched, but due to various circumstances, maybe their experience was at lower levels (even some who, like me, came upon the participatory level of the activity later in life, and maybe only in "parade" type corps.) And still for others, it is nothing more than a life-long love as a fan. What we ALL share in common is our love for the activity, and wishing for it to continue. Youngsters like you are the future. Our best thoughts go to you and with you.

To their credit, DCI comes in an audits a new corps. They have a whole long laundry list of things they have to go to before DCI will allow them to be scheduled into shows. Which, hopefully will prevent the "Hey, let's start a drum corps" mentality and then get halfway through a tour and run out of money.. Soundsport is a great idea in concept, and hopefully once some kinks int he system get worked out it'll be a new stepping stone for small performance groups to build a base and move up in size in a smart, measured way. The concept of a shorter tour is also an excellent idea. Ending a regional tour at a large regional show would be ideal for the open class/soundsport units. Not necessarily heading to finals to start, then building to it eventually. I always found this theory amusing, my soprano (bought during a stint at a sr corps) cost way less than my trumpet. And that's the one I bought , the ones I actually used would barely earn scrap metal prices... but I loved those 2 valve chrome DEGs!! Southwind is climbing back purely due to the efforts of a dedicated group of alumni. It's magical to see it happen. If your corps is long gone and you wanna bring it back to the field, it can be done. The impetus for the return of Southwind started with a Facebook page and an idea that we wanted to give kids the opportunities and experiences we all had (and not to be over dramatic, but changed the direction of our lives). It helps we have an alumni base (as I imagine more corps do) that kept in touch and who all have expertise in everything!! From a federal judge to marketeers to instructors to MBAs. I left the activity for a few years, and a lot changed (an I can't honestly say it was for all the better... my opinion). The worst of the changes (IMHO) is the loss of having a lot corps around to provide the life experiences to those of us who may not be the best musicians or have the money to drop $5000 on a summer tour. More than the B-flat change or the addition of mics and electronics (ugh), this bothered me the most. I'm extremely happy to see that DCI has recognized this issue and is seemingly taking steps to remedy the situation. I hope this continues. End of rant. Good night all!

I'm sure I'm not the only one who's noticed this trend, but I was watching the "Best DCI Moments of 2012" recently, and I was struck by the surprising lack of cohesion in many of the brass arrangements. It's almost as if a lot of the shows are just "hit - transition - hit - transition - hit - transition - hit" in structure. I'm not saying that they don't contain complete musical ideas, but the arrangers are being fairly unoriginal and cliche'd. I also think that they're not being patient with the music, allowing it room to breathe and stretch its limbs. I'm primarily a brass person, so I can't really comment on pit and battery arrangements, but I have a fair amount of experience with music arranging and transcription; what I've seen of good arrangements has taught me that there are many intermediate shades between loud/bombastic and quiet/subtle. Yet these arrangers just can't grasp that. And what's really puzzling is that many of these arrangers have proven themselves to be skilled in those respects - adding variety to music and using orchestrational techniques to bring interest and meaning to the music. For example, Michael Klesch, currently with Crown and a few others, arranged brilliantly for Garfield in 1985 and 1987 ('85 is my favourite arrangement for drum corps ever), preserving the source music's spirit and vitality while compressing them into 13 and 11 minutes respectively. Scott Boerma, still with Scouts after all these years, really brought out the aggression of Madison's hornline, while still making it musical and keeping the integrity of the sources. Is it that they and the many other arrangers working today just don't care? Or is it that they must bow to the will of the visual team and stretch and shape their music to rigidly fit the drill and guard? If any of you can shed some light on this phenomenon, I'd appreciate it.

You might want to consider changing your member name from futurebluecoat. Either that, or I'm way confused.

Of course Hopkins is usually akin to "no publicity is bad publicity" and "winter vidz prompt winter sales" (tickets, kitsch, tee shirts, wills.) The staff actually uses some of that negative flack to tune, tweek, and finesse the show, not necessarily to change it but to anticipate judge and audience response. The second camp of the month begins tonight (Friday) for brass and percussion. Hopefully we will be inflated on Sunday with some Super music and info bowling us over.

I'll actually try baritone since my band director will let me borrow one of the School's baritones and now that I'm thinking about it baritone would probably be better for me learning wise.

I would like to see the Glassmen return... but I doubt that will ever happen.

I'm totally against adding more corps to DCI. If that happens, how can we rant on DCP about the impending demise of Drum Corps. (Sarcasm if you can't tell.)

Welcome to the Drum Corps Planet Community! We hope that you enjoy your stay here. Please review the Community Guidelines so you can familiarize yourself with the communities' "personality". Please feel free to contact any of our staff members' if you have any comments, questions, or concerns. Rich

No idea where you are from but any All Age corps in the area? If one is nearby maybe you could be around them a bit since they don't tour. Couldn't hurt to explain your situation and see what might be possible. Don't have to march with them but maybe they could think of something that would work for both of you.

That's great news about the band director. The audition camps are valuable training experiences in and of themselves. There are also some online video-based brass training programs where a few videos are free and you pay for the full course. I have no idea how good they are, but your band director might have an idea. Search Euphonium Lessons or some such. Euphoniums (Euphonia?) are very similar to baritones. Practice buzzing with just the mouthpiece as long as you have it, just a couple of minutes a few times a day until your lips stop tingling and hurting. That'll help until you get the instrument. Oh, I forgot to mention: If you're not already in an aerobic exercise program, get into one now if you are aiming for a WC corps someday. Running is simplest, but dance, martial arts or gymnastics would also teach body control. Auditions usually include a physical component. The sharp end of the order is extremely physically demanding, but for now any kind of regular aerobics should suffice.

Thank you so much for the info ^-^ I can't really march this summer so I'm planning to practice through the summer and go to a camp next audition season for the experience then march in the 2017 season if I'm lucky. My band director said he'll help me if I come in during my lunch period so I hope I won't develops any bad habits.

I am going to add some things you may not know about drum corps. I'm not sure about the details myself, so check me on these things, people: You will probably not get into a DCI World Class drum corps this year. Beginners can get into some DCI Open Class corps but you have to investigate each one. And then there are all-age DCA corps. These corps are a great option today if there's one around you - they are local (you live at home) - they train mostly evenings and weekends because many of the members work during the day, but increasingly they have kids as well. Some seem to be mostly kids. Also look for a local SoundSport group, SoundSport is ... well ... kind of a winter/spring drum corps league. (right?) It's new and there are lots of them. The audition period just pretty much ended for most DCI corps, but some auditions/audition camps may still be going on. (Auditions are just that, audition camps are full day or weekend training experiences including an audition. Either way it costs from $60 to $125 or so.) The camps you will see in the spring are mostly rehearsal camps for those who got accepted. However, people sometimes drop out and so they suddenly need replacements, and will be more likely to settle for a beginner. So, a good strategy (if you want to march DCI) would be to periodically check all the OC corps websites news sections looking for announcements of sudden needs for additional performers. This can happen right up to June, so keep checking and be the first to respond. They may also take you as an alternate who trains like everybody else but doesn't perform in shows unless someone drops out. Drum corps "tour fees" vary a lot but can cost upwards of $3600 a year for corps that do a "full tour" (training pretty much all day, every day, all summer long). Many OC corps do a shorter tour with less transportation costs and can charge a lot less. DCA corps charge even less since you live at home. Instruction: You must get with a skilled horn player, if not an instructor, at least once in awhile. There are bad habits that can limit your playing that can creep in without some basic instruction. But I don't know that it has to be every week. You say there is a band teacher at your school - at least have him/her check your embouchure every once in a while. Explore the forums at two brass websites: trumpetherald.com and trumpetmaster.com for lots of good advice on everything brass. Good luck! Ok, folks, did I get anything right above?

re-entry

To be fair, some of these corps really have taken some very good steps to ensure stability, too. Because some friends of mine are involved, I've been following the development of The Battalion out of Provo. They've been in existence for a while now, holding fundraisers and advertising/recruiting like mad. This winter they started hosting camps, with pretty good turnouts. All of this, and they aren't planning to apply for membership until next year, and then with a very limited tour. Planning things out years in advance, taking baby steps, and not moving on until the foundations are secure (aka good business!) If more startups did this, I think we would see a much higher survival rate in Open Class, and maybe even a higher rate of corps advancing to World Class status.

There have been rumors of alumni bringing them back under a different name until the Glassmen name is cleared of debt. I spent alot of time researching these groups and Freedom is a scary one. 19 year old is in charge and not everything seems ready for Open Class. Soundsport maybe but a tour will probably fold them in a season.

Don't have a ton to add to this that others have already contributed except: 1) good luck! There are a plethora of stories of successful drum corps Marching Members who switched from woodwind instrument to brass (or percussion or guard) for the sake of marching in a drum corps 2) my DM the two years I marched wasn an alto sax 'convert.' He had joined the corps mid-season the year before I marched and learned baritone (I think: maybe mello) to fill a hole. He is a GREAT guy, and was promoted to DM the following season (my rookie year). He was DM of my corps for three years, and aged/rooked-out as DM for Blue Devils. Skies-the-limit when it comes to work ethic & the harder you work for your goals the more you will get out. I wish you nothing but the best!!

Hah! Don't worry. Arban is precisely as relevant today as he was a century ago (if not moreso). Pidget, The books to which I was referring were the corps' exercise books, which are generally consistent year to year (assuming the brass staff stick around) and can be found with a little digging on their website. Though I totally agree, if you want an exercise book that will help you be a brass player, Arban is the way to go.

Breathe. Lip slurs. Practice literally every day. Don't worry too much, you are by no means the first nor the last person to do this. Just practice literally every day, use your air, and do a crap ton of lip slurs. If you can get in some ensemble(s) on trumpet I'd do it. More playing=more better. Also more breathing, more air, practicing every day (literally) and lip slurs=better. Did I mention to relax? Also get the corps brass book as soon as it comes out, work it to perfection, and impress the crap out of your vis techs with your killer marching (make that happen). Lastly, move more air, do lip slurs, practice every day, and relax. From one woodwind in drum corps to another, good luck in your venture! You'll be glad you made this decision.

The other concern to take into consideration if you're going to pick up a new instrument from scratch is how many other players you'll be competing against for a spot. Since it is not your first instrument, and you will be auditioning against other players for whom it IS their first and only instrument, you may not want to throw yourself into the line that has an abundance of auditonees from which to choose because you might not make the cut. I'm not saying that every corps marches 24 trumpets and turns away 12 more, but you might find more openings for a mellophone player instead.

No, I think he was just observing that DCI often takes the mailing address of the acting corps director and uses it as their hometown, right or wrong. The most egregious example of this was when the Edmonton, Alberta, Strutters were announced as hailing from somewhere in Kentucky, where their tour coordinator resided.

And cheaper instruments (or members bringing their own) was one of the reasons given early on for going to Bb. Maybe it didn't help much then but is helping now....

LOL corps of mystery already......

There were many, but few were ever, and never will be.... "THE" Carl Allison of the Sacramento Freelancers. 1982-83 And one of THE best Baritone Soloists os all time.

FOR IMMEDIATE RELEASE January 16, 2015. The Skyliners Drum & Bugle Corps is proud to announce the Percussion Staff for the 2015 season. With Percussion Arranger Eric Boylan returning to the Skyliners for a second year to arrange and design their 2015 percussion show, the Skyliners promise another entertaining and crowd pleasing show! The Skyliners are excited to welcome Thomas Siegfried as Percussion Caption Head, a position he has held previously with the Skyliners. Dr. AJ Merlino joins the Skyliners as Front Ensemble Technician/Coordinator. Patsy Vankirk, Mike Nederhood, Brendan Carter, and Cecily Siegfried are Skyliner Percussion Technicians. Thomas Siegfried is pleased to be back as the 2015 Percussion Caption Head for the Skyliners Drum and Bugle Corps. Thomas, a graduate of the Buffalo School of Performing Arts with percussion as his major has worked with Robbie Robison, Dan Delong, Rob Patterson, Billy Kaufman, John Reilly, Chris Feist and a host of others. Thomas has been involved in the Drum Corps activity for well over 25 years and has marched with the Reading Buccaneer, the Westshoremen, the Lehigh Valley Chieftians, the Buccaneer Alumni Corps, the Emmaus Sentinels, and the Reilly Raiders. He has served as Caption head and Percussion Arranger for the New York Skyliners, the Westshoremen, the Lehigh Valley Chieftain, the Emmaus Sentinels, the Buccaneer Alumni Corps, Wilson Central and Southern Junior High Schools, Muhlenburg High School and Kutztown High School. Thomas presently is the Assistant band director and percussion arranger for the Kutztown Senior High School. In addition, Thomas has done work for the undergraduate music program at Kutztown University and most recently has been involved with the graduate program at Indiana University. In 2008 he was given the honor of being inducted into the Pennsylvania Drum Corps Hall of Fame. Helping to get the Skyliners back on the field in 2014 was a deep heartfelt accomplishment and a very proud moment in his Drum Corps career. Thomas is looking forward to a positive year filled with many more accomplishments for the Skyliner organization. Mike Nederhood, Tenor Technician, grew up in Olympia, WA, and has lived and taught in both Seattle, WA, and eastern Pennsylvania. Mike has been playing all areas of percussion for 25 years. He has been teaching, arranging, and composing for 15. Mike moved to Pennsylvania to be in the heart of the drum corps activity, and he had the privilege of winning three world championships with the Reading Buccaneers, where he marched tenors and played in the pit. Mike is very excited to be in his second year as tenor technician with The Skyliners. During his first year with Sky, he was the DCA tenor individual champion. Mike credits much of his success to the fantastic instruction he has received, especially from his private instructors, Dan Adams, David Reeves, Frank Kumor and Will Rapp. Mike has been a member of the University of Washington marching band, the Seahawk's Blue Thunder drum line, and the Seattle Sounder's Soundwave band; he has performed at Lincoln Center, Benaroya Hall, Super Bowl XL, the Rose Bowl, and on a tour of China. Some highlights of his teaching career include winning two championships as director of the Whitehall indoor percussion ensemble, a silver medal finish as tenor tech with the North Penn Marching Knights, a gold medal finish as a percussion instructor with the Warwick marching band, and winning the Puget Sound Festival of Bands as pit tech with the Kamiak Show Band. Mike currently works with Lake-Lehman high school and the Wilkes University Marching Colonels. Mike holds an AA degree from Seattle Central Community College and a BA in Comparative History of Ideas from the University of Washington. He also attended Kutztown University in music performance. Dr. A.J. Merlino received his DMA (Doctor of Musical Arts) Degree from UNLV (University of Nevada Las Vegas) in 2014. He received his MM (Master of Music) Degree at UNLV in 2012, and his BA (Bachelor of Arts in Music) in 2010 at Kutztown University. A.J. is the author of The Percussionist Bodybuilder: Optimizing Performance Through Exercise and Nutrition. He is a member of the Percussive Arts Society; National Academy of Sports Medicine; and Performing Arts Medicine Association College Music Society. A.J. Merlino’s intense and versatile performing style has made him a highly sought after percussionist for the past decade. His playing has taken him around the world including Scotland, Croatia, Greece, Thailand, Australia, and Argentina. He has also collaborated with famed percussionists Michito Sanchez, Pepe Jimenez, Christian Tamburr, Bernie Dresel, and Kurt Rasmussen. Merlino has worked as music director, composer and performer for many projects held at The Venetian, Mandalay Bay, MGM Grand, and Cosmopolitan in Las Vegas as well as the production show Resurrecting Sin City, which premiered in Las Vegas and traveled to Adelaide, Australia in 2012. As a clinician, he has presented to numerous colleges, high schools, festivals and has worked for the International House of Blues with Kurt Rasmussen. A.J.’s Professional Employment resume includes being Instructor of Percussion Studies, Kutztown University, 2013-Present; Yocum Institute for Arts Education, Percussion Instructor, 2014-Present; Reading Music Foundation Instructor, Percussion Instructor, 2014-Present; Mexican Marimba Ensemble Director, New York Youth Musicians, 2014-Present; Skyliners Drum and Bugle Corp, Front Ensemble Instructor/Coordinator, 2014-Present; ESF Camps, Lead Instructor of Performing Arts, 2014; Front Ensemble Instructor, Kutztown University Marching Unit, 2014; Chamber Music Instructor, Kutztown University Chamber Festival, 2014; Percussion Graduate Assistant, UNLV, 2010-2013; Studio Manager, Kutztown University, Kutztown, PA, 2007-2010; and Conference Associate, Mostly Marimba Corporation, Neptune NJ, 2007-2010. AJ’s Endorsements include: Yamaha Percussion, Innovative Percussion, Paiste, Remo, DrumTacs, and Meinl Percussion. His Select Performance Experience, just since 2008, includes percussion and instructional performances from Cirque du Soleil’s One Night for One Drop, Percussionist, at Bellagio Las Vegas, 2013 to Percussion Festival, Percussionist and Instructor, Cordoba in Argentina, 2012. While the entire list is too long to include here, AJ Merlino’s Press Kit can be viewed at http://www.ajmerlino.com/press-kit. Patsy Vankirk, Snare Drum Technician, has been teaching percussion for 30 years. She began teaching at Shikellamy High School upon graduation from there. Other high schools she has worked with while living in Pennsylvania were Southwestern and Bloomsburg high schools. She also marched with the Reading Buccaneers from 1998 through 2000. She then moved to Rochester, NY and began performing and instructing with Empire Statesmen from 2002-2010. Patsy is currently in charge of the battery at Victor High School, Victor, NY. During her time there, the marching band has won 7 New York championships. She is also involved in the Victor Indoor Percussion Ensemble (VIPE) , who are a 4-time State Champion. In 2010, "VIPE" were a Scholastic A finalist at WGI championships in Dayton, Ohio. Brendan Carter, Bass Drum Technician, has been teaching percussion at local high schools since 2008. He began teaching at Lake-Lehman High School under the direction of former band director Greg Riley. While at Lake-Lehman Brendan also began working with the indoor percussion ensemble. During his time at Lake-Lehman the percussion consistently placed in the top 10 in TOB and in 2009 Lake-Lehman won the TIA Scholastic Middle School Percussion Championship. Since then Brendan has worked with Wyoming Area High School from 2009 to present, Pittston Area High School 2010-present, as well as Dallas High School 2013-present. In 2010 Brendan became a Vic Firth educator. At Wyoming Area, Brendan directs the Indoor Percussion ensemble which has won the 2012 Scholastic Novice Percussion and the 2012 Scholastic Middle School Stationary Percussion Championships in TIA. While at Pittston Area, the percussion has consistently achieved the high percussion award in the Independence Open conference at Cavalcade Championships. Brendan is currently the marching band director at Pittston Area High School. Cecily Siegfried is returning to the Skyliners as Cymbal Technician. Cecily Siegfried brings to the Skylines years of experience in performing and teaching bands and drum corps. She will be lending her talents once again to our cymbal line. Cecily has been a performance and musical educator for numerous Drum Corps and countless bands and indoor units including the Westshoremen, Buccaneers, Chieftains, Governor Mifflin, Parkland, Cumberland Valley, Blue Mountain, Whitehall and Northern Lebanon to name a few. As a 5 time DCA world champion and former member of Up with People, she brings the work ethic, knowledge and experience to encourage members to strive to exceed their own expectations. She was a member of the Macy’s All Star Drum Corps in 1991, 1992 and 1994, and was inducted as an associate member of the World Drum Corps Hall of Fame in 2002. In 2005, Cecily became the first inductee of the Pennsylvania Drum Corps Hall of Fame. Keep up-to-date with us via our website, http://www.MarchSky.org and the Skyliners Drum & Bugle Corps Facebook page at https://www.facebook.com/skylinersdbc . For more information, please contact Adam Burdett at info@MarchSky.org.

There are so many good drum majors. The only one I'll mention is Mike Zapanta from SCV because I was able to see Vanguard live 4 times in '81 and 2 times in '82 and had the opportunity to watch him on the podium.

After a few days off, my look back at 2014 continues with The Cadets. http://www.gaminnet.info/?p=2463

But there is an advantage to using electronics to amplify the pit instruments. marimbas, xylos, and such. its better for both the player and the instrument. with the amplification the performer can use proper concert technique instead of having to hammer on the instruments to keep up volume and blend with the battery and hornlines. the players dont wreck their hands and wrists anymore with the electronic help.

OK here it is in my opinion plain and simple... This is 2011 not 1972. It is no better for Phantom to keep buys out of the Guard than it is for for the Blue Devils to keep women off the Horns or Drums. No other coed corps in the activity uses gender as a qualification for any particular section. If I am wrong on this please let me know. A drum corps is a team and all sections are the same. I was so happy when Phantom added men and cast off the old sexist notion that Guard was primarily female activity. Once again we are in 2011, notions of proper gender roles are ridiculous. For example... Any boy at nearly any school in America can try out to be on the cheer squad even if currently there are no other boys. If he has the talent he'll make the squad or the school will be slapped with a lawsuit so fast it will make heads spin. The law recognizes this as discrimination. The young men and women of our beloved activity should be free to march in any section of a coed corps based on talent. I know I have raised a lot of ire among many but we have to start thinking about this in terms of today and what the current generation in the activity thinks of as general fairness.

The gender discrimination is bad enough, but don't even get me started on Phantom's egregious age discrimination. Year after year I keep getting turned away, when I'm clearly a better candidate than all those baby faced amateurs they insist on putting on the field.

Not trying to be a turd here but way back I pointed out that those two corps have no women at all. Not the same situation. Phantom corrected an error when they let guys in the guard. Why is it OK fr a guard to be single sex by design in a coed corps but it is not OK with other sections? Guard is just a section, members should be picked based on talent and fit with the program, not on gender. It is not a sacred domain of femininity or whatever you think all-female achieves. Phantom keeping guys out of guard is no better than Blue Devils keeping women out of the drum line. Discrimination is discrimination.

So here we are about to end the season. Just a few weeks ago the supporters of the return to an all-female guard were gloating with the scores and placements of the guard sub-caption. Now it seems this has reversed and while the all-female guard was not the disaster on the field in score like in 04 (I think they were around 10th)they also were not dispatching the competition in Finals like many had assumed or hoped. In prelims and semi-finals they took 6th. Still waiting for results of finals but we all know how theses things trend. So... Was it worth it to keep talented young men out of the guard? For the record I loved the show but the exclusion/discrimination has still left a bad taste in my mouth. Also... Did anyone notice in the Thursday theater broadcast that Will Pitts felt the need to explain the all-female guard? He called it a "tradition" of Phantom. To me that was a slap in the face of all the young men who marched 05 - 10. Could he at least have said "old tradition" or "we brought back the old tradition?" I also find it ironic that the two highest placing shows of Phantom in that period and the show that made him famous could not have happened without male guard members. Imagine Faust without Faust or the Devil. Imagine Spartacus without... you get the idea.

DCA = Jimmy Russo from Caballeros. His energy could power a small city!!

Christian Baughman-Colts

Very funny Matt...ha... Many thanks to those that think I left some "mark" on DCI other than the sweat I left behind from my 2 years with VK in 1986 and 1987. I find it cool and very sweet that I am getting to go back this year (LEAVING TOMORROW!!!) and experience Camp Randall again. There are so many great drum majors through the years...if you take a moment and visit my blog, you can read about the contribution of one particular drum major who all but disappeared from the activity and has now made a triumphant return to be a guest performer with the Kingsmen Alumni Corps. I speak fondly and very respectfully of one of the TRUE greats of this activity, and who should be at the top of ANY list from ANY year...and that would be of course Carl Allison from the Sacramento Freelancers in 1982 and 1983. I have a special place in my heart for Becky Woods as well. Wonder where she is now. Wasn't fond of him personally, but someone brought him up, and he was a very good conductor and had a #### of a run with the Garfield Cadets, and that was Richard Armstrong. Can't forget one of the great MODERN era drum majors of all time, and while I can't ignore the talents of greats like Stuart Schulman or Daemon Williams, the best modern SCV drum major I believe to grace the podium was Mark Irons...BY FAR. There was JUST enough of a flair of the exuberance and enthusiasm he brought from his award-winning high school drum majoring days, but he effectively combined it with the SCV style and mystique...and was richly rewarded as Best DCI Drum Major in 2001, and deservedly so. I'm going to get my butt kicked I'm sure because I can't remember his name, but he was the black gentlemen that conducted Phantom when they did "Festive Overture". I think that's Roderick Saunders, right? THAT man could conduct his ### off and made me look like a lame-o. HE ROCKED. I love watching the percussion angle on the last 2 minutes of the show because you really catch some great shots of him conducting. BRAVO!!! But so many people over the years--historically and modern era...just amazing that I'm part of the "fraternity" of drum majors that have come and gone in this crazy ### activity.

Joel Carter Madison Scouts Emily Nuendorf Colts