{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://iastate.aviaryplatform.com/iiif/4m91835r11/manifest","type":"Manifest","label":{"en":["Interview with Loren Faeth"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/004/original/ISULogo.png?1601681107","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Faeth, Loren (interviewee)","Wells, Rebecca (interviewer)","Iowa State University. Cyclone Marching Band (creator)"]}},{"label":{"en":["Publisher"]},"value":{"en":["Iowa State University. Special Collections and University Archives"]}},{"label":{"en":["Description"]},"value":{"en":["Oral history interview conducted by Rebecca Wells with Loren Faeth for the Cyclone Marching Band Oral History Project."]}},{"label":{"en":["Subject"]},"value":{"en":["Marching bands (topical)","Iowa State University. Cyclone Marching Band (name)","Universities and colleges--Alumni and alumnae (topical)","Cymbals (topical)","Bass drum (topical)","Severinsen, Doc, 1927- (name)","Ferguson, Maynard (name)"]}},{"label":{"en":["Date"]},"value":{"en":["2024-09-26"]}},{"label":{"en":["Format"]},"value":{"en":["video/mp4"]}},{"label":{"en":["Type"]},"value":{"en":["Moving Image","oral histories (literary genre)"]}},{"label":{"en":["Preferred Citation"]},"value":{"en":["Interview with Loren Faeth, Iowa State University. Cyclone Marching Band records, RS 13/17/3, Iowa State University Library Special Collections and University Archives. Please use this identifier to cite or link to this item: https://n2t.net/ark:/87292/w9tb0z272"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["This item is protected by copyright and related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. No permission is required for educational uses. For other uses, please obtain permission from Iowa State University Library Special Collections and University Archives.\nhttp://rightsstatements.org/vocab/InC-EDU/1.0/"]}},{"label":{"en":["Coverage"]},"value":{"en":["1970s (temporal)","Iowa--Ames (spatial)"]}},{"label":{"en":["Relation"]},"value":{"en":["Iowa State University. Cyclone Marching Band records (RS 13/17/3) (part of)"]}},{"label":{"en":["Identifier"]},"value":{"en":["RS 13/17/3 (call number)","https://n2t.net/ark:/87292/w9tb0z272 (permalink)"]}},{"label":{"en":["Language"]},"value":{"en":["English (primary)"]}}],"summary":{"en":["Oral history interview conducted by Rebecca Wells with Loren Faeth for the Cyclone Marching Band Oral History Project."]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["This item is protected by copyright and related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. No permission is required for educational uses. For other uses, please obtain permission from Iowa State University Library Special Collections and University Archives.\nhttp://rightsstatements.org/vocab/InC-EDU/1.0/"]}},"provider":[{"id":"https://iastate.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Iowa State University"]},"homepage":[{"id":"https://iastate.aviaryplatform.com/","type":"Text","label":{"en":["Iowa State University"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/004/original/ISULogo.png?1601681107","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/254/860/small/Loren_Faeth_thumbnail.png?1729717388","type":"Image","format":"image/png"}],"items":[{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860","type":"Canvas","label":{"en":["Media File 1 of 1 - Faeth_Loren_access_video.mp4"]},"duration":8723.776,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/254/860/small/Loren_Faeth_thumbnail.png?1729717388","type":"Image","format":"image/png"}],"items":[{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/content/1","type":"AnnotationPage","items":[{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-iastate.s3.wasabisys.com/collection_resource_files/resource_files/000/254/860/original/Faeth_Loren_access_video.mp4?1729717388","type":"Video","format":"video/mp4","duration":8723.776,"width":640,"height":360},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860","metadata":[]}]}],"annotations":[{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118","type":"AnnotationPage","label":{"en":["Faeth_Loren_transcript_Final.txt [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: This is Rebecca Wells, an interviewer for the Iowa State University Special Collections and University Archives Cyclone Marching Band Oral History Project. Today is September 26, 2024, and I'm interviewing Loren Faeth via Zoom. Thank you for joining me today, Loren.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=0.0,32.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: You’ve mentioned you have a little introduction for us. If you wouldn't mind starting there and then we'll get into our questions.\r\nLF: Sure. I think I have kind of a unique perspective on the Iowa State University marching band or Cyclone football marching band because I started at Iowa State in 1971, and that year, the marching band consisted of ninety-seven men and one bell player. And I was not in the band, but I sat in the stadium for the home games, and the audience-- at least the student section audience, did not appreciate the band. Let's put it that way. That's being polite.\r\nThe next year, Jimmie Howard Reynolds [Conductor of Bands and Associate Professor of Music (1972-1982)] came, and I was not at the university. I'll get into that later. But things changed, and I heard about it.\r\nSo, I was around for when Jimmie Howard Reynolds came-- I will refer to him as JHR because that's how we in the band referred to him as Mr. Reynolds, or JHR because he always signed his name JHR. And then the following year, I did join the band. And that year was the first year for Joseph Christensen [Assistant Professor of Music and Assistant Director of Bands (1973-1978) and Associate Professor of Music and Director of Bands (1979-1998)], who we called Mr. C. And Mr. C. came in as the marching band director and Iowa State had never had one of them before. So, it was a learning proposition for everybody.\r\nMy span of time at-- in the band-- I'll explain how the Cyclone football marching band became the Cyclone Football ‘Varsity’ Marching Band [Iowa State University Cyclone Football ‘Varsity’ Marching Band], the 70/30 Club, Bus Five traditions, the Kansas City Chiefs, the Hallmark Company and the Exhibit Hall restroom sign. I already talked about the change from ninety-eight men and one bell player to CY’s big band with 350 members. The best band in the Big Eight, if not in the world, and [the] personalities of Jimmie Howard Reynolds, Joe Christiansen, the percussion specialist-- that was the first one that I ever worked with-- Coach McKinney, Jim McKinney. Lou McCullough, the athletic director [1971-1982] at the time, was also part of this story, and then there's the story of the transition of the percussion section into the drumline.\r\nI was part of the band for the last game at Clyde Williams Field, for the first game at Jack Trice Stadium, and also the first time we played Mr. C's arrangement of “Bells of Iowa State” for pregame with Mr. C. directing, and that was pretty cool.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=32.0,265.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: Wonderful. Thank you for that. So, we're going to rewind it a little bit, and we're just going to start with-- if you could, please start by telling me about your early life, like where you grew up, your family, that sort of thing.\r\nLF: Okay. Yes. I grew up at Fort Madison, Iowa. Our family had the oldest orchard west of the Mississippi. So, my early life, when I was-- I don't know what, six years old, was putting lids on baskets of apples in the fall, and it was always working in apples. And in the wintertime, I cut firewood. And working on tractors and equipment and whatnot. So, that was kind of my life.\r\nI started band in fifth grade, and our high school band teacher was Larry A. Miller, and he was a devout fan of the Hawkeyes. I know. [laughs] I didn't appreciate that that much then. And-- but Mr. Miller did a good job of turning us into a good band, good enough that we're invited to competitions at Virginia Beach and Rapid City. So, we had some bus trips, and it was--. It was all good preparation for coming to Iowa State.\r\nI played snare drum in the high school marching band. Mr. Miller didn't like me much because I was left-handed, so my sticking was opposite everybody else's, and he kept trying to make me match their sticking, and I couldn't do it. [laughs]","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=265.0,401.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: Well, thank you. Did you have--? Would you mind mentioning the names of your mother, father, and siblings?\r\nLF: Okay. Yes. My parents were Marvin Faeth and Carol Faeth. And my dad obviously grew up on the farm, and my mom came from Danville, Iowa.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=401.0,432.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: So, can you tell us how you came to be at Iowa State? When and what did you study?\r\nLF: Well, I was a kid in the sixties and we all wanted to be an astronaut. So, the pathway to becoming an astronaut was, you had to be a military pilot. You had to have an engineering degree. And then, when I was in sixth grade, I found out I had to have glasses and even though I didn't believe it at first, I found out it was true that I was never going to be a military pilot. So, I settled on the degree in aerospace engineering and came to Iowa State. My uncle had been at Iowa State before World War II and one of the books that we got from my grandmother was a book on aeronautical engineering. And I read that as a-- I think, in junior high, as a kid. I didn't understand everything, [laughs] but at least I had a little background.\r\nAnd so, my first year at Iowa State, like I said, I went to the football games. I tried to be a good student, had to take all the freshman flunk-out classes, and my grades were not real good. So, at the end of that year, I was out of money and no scholarship, and so the fall of 1972, I went to Southeastern Community College in Keokuk and took a lot of history and reading classes that would apply to my degree. But one semester's [LF note: quarter’s] worth was all that would be transferable and useful. So, after that quarter, in the wintertime, I got a job as a draftsman at Toastmaster in Centerville. And that was interesting. Three months there, and I had cleared all their backlog of drawing changes that needed to be done. So, I headed back to Ames, got a room on Sheldon Avenue, and took one class in the spring. While I was working for Ken's Appliance, I took one math class, and then in the summer, I took one math class.\r\nSo, in the fall, one year late, I was back on track in aero e. [aeronautical engineering]. Unfortunately, I ended up with a TA [teaching assistant] for engineering mechanics that couldn't speak English and couldn't teach. And so I was in trouble with that class, and it was discouraging. And I ended up dropping everything but marching band. [laughs] So, after that, I always told people, Well, you have to have your priorities right. Marching band comes first, and then you add in the other stuff. [laughs] So, for the rest of my career at Iowa State, that was my line was, Hey, marching band comes first. Get your priorities right.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=432.0,673.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: And what year did you graduate then?\r\nLF: I graduated in February of 1979.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=673.0,684.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: Wonderful, and you mentioned an uncle who attended ISU.\r\nLF: Yes.\r\nRW: Would you share his name with us, please?\r\nLF: His name was-- well, he went by Claude Moore. His full name was Elbert Claude Moore, and he was from Danville. And he was in the Pershing Rifles, which was a horse-mounted drill team that was sponsored by the Army R.O.T.C., and their horse barn was later, after World War II, was used by the engineering department for exhibiting student works. So, it was renamed Exhibit Hall. So, the band later was moved to Exhibit Hall, and that-- when I was in the band at Iowa State. That was our band quarters was Exhibit Hall. Same place my uncle used to keep his horses.\r\nRW: Oh!\r\nLF: Every once in a while, we'd find some little thing that reminded us that used to be a horse barn.\r\nRW: Wonderful. Do you know, do you know what your uncle studied while he was here?\r\nLF: Yeah, he was a civil engineer, and he went into the Corps of Engineers in World War II. He was stationed at least part of the time on the island of Hawaii. He built the Saddle Road between Mauna Kea and K?lauea-- or between Mauna Loa and Mauna Kea, actually. And there is a military camp up there. He knew exactly why there were all the switchbacks in the Saddle Road. That was because it was designed so that if the Japanese planes came and strafed the army convoys, they couldn't get more than one or two trucks at a time. And he was later the county engineer for Hawaii County, which is the Big Island of Hawaii. And then had a career as a civil engineer with C. Brewer [C. Brewer \u0026 Co., Ltd.]. Brewer owned a lot of-- well, they were one of the Big Five sugar companies, and they started the macadamia nut business on-- in Hawaii and they also sold off land. And so, all the subdivisions on most of the island of Hawaii from 1950 until 1975 or so were done by my uncle.\r\nRW: Wonderful. Thank you for sharing.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=684.0,879.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: So, can you tell me what bands you were involved with and when you were involved with those bands?\r\nLF: Sure. Nineteen seventy-three, 1974, and 1975, I was in the marching band. Nineteen seventy-six, I started out in the band, but I got a good job, so I quit the university and worked for-- it ended up being nine months. And that took me out of the 1976 and the 1977 bands. And then in 1978, for my last year, when I could see the light at the end of the tunnel, finally. I went back into the band. [laughs]\r\nI was also in the concert bands every winter and spring quarter. And those were-- those were just for fun. The wind ensemble was the serious music people, and the concert band was for the rest of us. So, we have a lot of fun. Sometimes, JHR directed. Most of the time, it was Mr. C., and so we got to know him better. There's one time I got a hidden solo with the wind ensemble, I was backstage, and I played the cannon for the “1812 Overture.” I had my own director. JHR directed the wind ensemble, but Mr. C. was in the wings where he could see JHR, and then I could see Mr. C., and I had my bass drum on the floor and a microphone on the left side. So, every time the cannon went off, I'd hit it with all I could. [laughs]","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=879.0,1004.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: Wonderful. So, can you tell me a little bit more about what section of the marching band you were in and if there's anything interesting to note about your section?\r\nLF: Oh, yes. Well, obviously, I was a percussionist. I played snare drum in high school marching band. I wanted to play bass drum at Iowa State because I thought I probably wasn't good enough to play snares, so I thought I could play bass.\r\nIn 1973, being a newbie, I was assigned to play cymbals with Jim Fisher. In 1973, there were no uniforms. So, we all had to buy a gold jacket [holds up a gold marching band jacket]. Actually, this is a later one. That's [indicating the jacket he just held up] actually a 1975 jacket. But it looked like that. [laughs] I’ve still got all the jackets. I just don't have all of my clothes right here.\r\nSo, Jim Fisher was a real pro with cymbals. He was a craftsman, and I learned a lot from him and I learned how to play cymbals well, and I learned how to-- I learned a lot about Brasso. We cleaned or polished our cymbals every Friday before the games, and I used a lot of Brasso. [laughs] Let's see.\r\nOh, yeah, that year, our trip was to Lincoln, Nebraska. The crowd was not friendly. The first time I'd been in a big stadium. And I went out there, we started to play the “Star Spangled Banner,” and I did the first crash, and my-- the wind caught my cymbal and I didn't get a good crash. So, after that, I figured, Well, I don't want to screw it up for the rest of the band. So, I just held my cymbals and let Jim do the cymbal crashes because he was coping with the wind better than I was. Or else he was in a better position. I don't know which.\r\nIn 1974, I was able to get the slot that I wanted. That was bass, and there were two of us. We both had red and gold bass drums. They were narrow and big diameter. It was a lot of fun. It was a lot of hard work. I was always panting and out of breath. You know, all the time getting used to it, but by the end of the season, I was doing pretty well.\r\nLet's see, this is our 1974 percussion sweatshirt [holds up a gray sweatshirt with a drawing of Cy as a drum major and red text surrounding the image saying “Iowa State Cyclone Marching Band”]. The back of it says, “STICK IT.” It was supposed to say “(PERCUSSION)” underneath, in parentheses. But, somehow, the printer didn't get that message, and Mr. Reynolds was not real happy with this. But we wore them anyway. One of the guys took a marker and marked in crossed drumsticks on the back with a red marker. I thought about doing that and was like, Eh, I don't have a red marker. I'm not going to bother. So, I never did that.\r\nNineteen seventy-four was our trip to Lawrence, Kansas, and the legends of Bus Five started on that trip. When I got on the bus, the first several looked like they were full, so I just went back and got on the fifth one, and it had room in the back, so I went back, sat in the back, and I had [laughs] no idea that was going to become a legend. But it was interesting. I-35 wasn't done then, so we were driving in Missouri, on Highway 69-- the two lane which had-- it was famous for a lot of fatalities-- bad accidents. But where I was sitting, on the left side of the bus by the window, I could-- when I looked out, watch the cars coming at us in that section of road. I could see their mouth going, Six! because when they got beside us, they could see there was a sixth bus. They didn't know yet there was a seventh bus, too. It took seven buses to get us there and back.\r\nSo, we had a good trip to Lawrence, played for the game there. The legal age had changed to nineteen the summer before. So the shenanigans that went on on Bus Five were legal--. At least for the most part. Whatever I knew about, anyway. Let’s see. The Bus Five got known for rowdy songs, a lot of singing, and a lot of drinking, and carrying on, and jokes and games, and whatnot. So, that was also the beginning of the 70/30 Club, where the premise was that 30 percent of the band drank 70 percent of the beer. And, of course, Dave Rausch and Jeff Carman, were on Bus Five and they were kind of the instigators in the 70/30 Club.\r\nNineteen seventy-five, we had-- the word was out by then, I mean 1974, the band grew a lot but it was still pretty manageable. And 1975, we had 350 people. That was the biggest band ever, and there were so many percussion people they split us into two different sections. There was one section with the red and gold drums, which included the bass I played the year before. And there was a gold section that had the newer gold drums, and I was assigned one of the gold basses with Mark Halverson [Telecommunicative Arts, (1974-1978)]. And Mark was actually a good musician. [laughs] He tried to read the music and tried to follow it. I was more along the lines of, make it up as you go, and then just keep playing it, you know. If I had to follow the music I had to memorize it. I was never really good at sight-reading music until later-- actually, by then I was getting pretty good by 1975, because of the time in concert band. I had to read the music, and I had to learn the sight-read, and I practiced more and I didn't just rely on memorizing everything.\r\nSo, with 350 people, that became known as Cy’s Big Band [holds up a gold t-shirt with cardinal text reading “Cy’s Big Band” around a drawing of Cy as a drum major] and we were [turning the t-shirt around to show the back which reads in cardinal text “Powerful Percussion”] the powerful percussion section. So, let's see what else happened in 1975? Oh, yes, we travel to Oklahoma University. We stayed at a Holiday Inn in Midwest City, Oklahoma next to the interstate. And the-- I'll talk more about it later, but the University of Oklahoma people were good, their band was friendly, and more traditions started at that game which I'll talk more about later. We invited the percussion section to our hotel for a party that evening. Other sections did the same, and that started a really friendly relationship with the Oklahoma University band and the 70/30 Club, they changed to the 80/20 Club [laughs] because they decided that 20 percent of the band drank 80 percent of the beer. I was never into drinking that much beer, so I was never an official member of the club. But it was funny.\r\nIn 1976, we got some terrific people in the percussion section. One of them was Sue McMurray [Sue (Hummel) McMurray]. She designed the t-shirts for that year. Which were really, really neat. It was a cartoon character, Iggy, but like I said before, I got a job. I had to drop out. I never got one of those t-shirts. Don't have the record. [laughs] But-- let's see. That year, they traveled to Lincoln, Nebraska, again and the crowd there was even more unfriendly. They actually damaged instruments; they stole uniform parts and whatnot. Somebody was injured, too. I don't remember the details of that. But that was another growth year for the band, and 80/20 Club became the 90/10 Club. [laughs]\r\nSo, in 1978, I was back as a full-time student in the percussion section again, playing bass drum. Up until that time, anybody who wanted in the band could get in the band. But after 1975, they decided they had to limit the numbers because it was going to be unmanageable. 350 was hard to manage, and I think-- I don't remember. I think they cut it back to about 275 or 300 for several years then afterwards. And so everybody had to try out unless you were in the band the year before. Because I wasn't in the band the year before and because Jim McKinney was new, I had to do a tryout. I was scared to death that I wouldn't be able to sight-read the music well enough to play whatever kind of thing he wanted. Anyway, he was kind. He let me in the band for one more year.\r\nThat was also the year the budgets were cut again, and we had to clean the stadium to make enough money to be able to travel. So, our big trip that year was to Oklahoma again. And another party with the OU band. And that year also, we were getting some outside recognition as being a good band. We were invited to the Kansas City Chiefs game. So, we had to clean the stadium, get on the bus, and then go to the Kansas City Chiefs game, and I'll talk about that more later, too. Let's see.\r\nOh, yes. That that year, the 90/10 Club became the 98/2 Club. 98 percent of the beer was consumed mainly by Dave Rausch and Jeff Carman. [laughs] But there were a few others. I don't remember who else had that cap. So they made 98/2 caps. So, let's see.\r\nMerlin Bicking [Chemistry, Ph.D., (1976-1982)] was a grad student trumpet player, and for some reason, he decided the band needed a newsletter. So, he put together this newsletter with jokes and stories and whatnot. I forget if-- I think it was four pages, maybe. And it was called Cy’s Droppings. So I rode on Bus Five again that year, sitting in the back again. And Merlin was on Bus Five, so he passed out the Cy’s Droppings so we had something to read on the bus. [laughs] It was funny. So, I guess that covers my-- a little overview of my four years in marching band.\r\nRW: Yes, thank you.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=1004.0,1929.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: So, can you talk to me a little bit more about the process of learning and performing a show? How did you get from the drill to learning music to putting it all together into a performance?\r\nLF: Okay. I don't think it's really changed a lot from then until now. It's still pretty much the same. You play through the music once or twice, and then you walk through the drill with the sheets. The biggest change was, in the early days, the charts were all hand drawn and now they're all computer generated. Then you go through putting the music and the drill together part by part. And then you go through the whole thing. And then you practice. [laughs]\r\nSo, when you have two weeks to prepare, there's a lot more time to go through playing the music, doing the drill without the music, putting them together, doing the parts, and doing the whole [show] over and over until you really get it down. When you had back-to-back games, and you only had a week, it got to be a lot harder to do well. But as the season went on, you know, everybody in the band got better. So, it was easier to do. Most of the time, those back-to-back games were later in the season, so it wasn't too bad.\r\nWhen we get into Alumni Band, and you come at eight o'clock in the morning, or five o'clock if it's an early kick-off for TV and you have to sit under the stadium and play in the dark; and try to read the music that you can't see. [laughs] And, anyway, and play through the music, you go out on the field when the varsity band is done with their main rehearsal and we walked through it once, and then we play it, walk through it, and then we do it with the varsity band, and then we all leave. And then we come back later for the game, and we do it for real. So that's kind of the preps procedure and as we got to Alumni Band, it's pretty amazing how fast we could learn and do a fairly complex show. The first years of Alumni Band were mostly just going out standing because they didn’t trust us to do things. But it got more complex as time went on.\r\nSo that was, that was basically how we put together the shows. And while we were learning one show the instructors and student instructors and assistants whatever we're putting together the next show. [laughs] So when the next Monday came we got all new music and all new charts, and off we go again.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=1929.0,2162.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: So, you mentioned practicing. Can you tell me when and where your practices took place? How often, how long those rehearsals were, and on average, how long did you normally have to learn your shows?\r\nLF: Yes. For 1973 and 1974, we practiced right behind Beyer Hall. When, I think it was [the] 1974 season went long, and it got cold early and the hockey guy set up their practice rink for broom hockey and whatever behind Beyer Hall, and they were a little mad because we were still out there trying to practice before Thanksgiving. But anyway, 1975, I guess the hockey guys won out because we got moved further north behind the tennis courts next to Town Engineering [Town Engineering Building]. And then 1976 or 1977, we got moved partway south next to the tennis courts because they started construction on a Design Center. And then, in 1978, we were in the middle there, between the Design Center and Beyer Hall.\r\nPractice was four to five thirty, five days a week. Pretty much the same as it is now. Usually, we had a one week-- before classes started. I forget what they call--. It was a mandatory band practice for five days or six days, and, in that time, in the early seventies, JHR would have-- at least in 1974 or 1975, you would have a percussion specialist come in and work with the percussion section for a few hours. So, we'd have our percussion sectional too, and then the band would rehearse as a whole for that week before. But I don't think that's really changed a whole lot. Just where we practice kept changing. But once they gave us the field out by the cemetery, it stayed fairly stable until now. But I hear that's changing, too. [laughs]\r\nRW: Oh, I hadn't heard that yet.\r\nLF: Well, that's the rumors.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=2162.0,2363.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: Alright! Can you recall some of the shows that you performed and maybe if you had a favorite of those shows?\r\nLF: Yes. That 1975 trip to Oklahoma, Jimmie Howard Reynolds figured that the fall before the Bicentennial would be a good time to put on a patriotic show in Oklahoma. And he was right. We went down there and-- I don't remember all the music we played. I'm sure we played “Stars and Stripes Forever,” and “America,” and some other things like that. And it was interesting because when we went to Nebraska, you know, at least half of the stadium cleared out for halftime. In Oklahoma, their band played and most of the people stayed and watched them. And they stayed and watched us. And, at the end, we got a standing ovation from the crowd in Oklahoma, and that is not easy to do. But JHR was right. They appreciated the patriotic music. That one was a very memorable thing because four years before, the band had basically no credibility. And here we were, four years later, pulling off something like that. That was pretty good progress.\r\nYes, like I said, the band at that time had no credibility. Earle Bruce [Head Football Coach (1973-1978)] had no use for the band-- the football coach. Lou McCullough, the athletic director, tolerated the band, but you know we got no privileges. So to be recognized in Oklahoma like that really meant something. The party, like we had there in Oklahoma after that game, I don't think they let that happen now. [laughs] It was interesting.\r\nOne of the other shows that was memorable was the last performance at Clyde Williams Stadium. The first performance at Jack Trice Stadium. There was a show with Doc Severinsen [jazz trumpeter, leader of the NBC Orchestra on The Tonight Show Starring Johnny Carson] from The Tonight Show, where he was a featured soloist. And I think it was 1978-- it was similar, featured soloist was Maynard Ferguson on trumpet [jazz trumpeter and bandleader], and [the] music we played then with him had a fairly long drum solo break in it. And we were good. We really nailed that solo, and after it was over, Maynard Ferguson turned around and gave us the thumbs up, way to go, and that meant something, too.\r\nThe most memorable combined Alumni Band varsity band performance was 1984. They did an arrangement of the “1812 Overture.” It was the first night game at Iowa State. It was the first televised game at Iowa State. The university brought in Musco Lighting from Muscatine to put up lights because there were no lights in the stadium back then. Because we had never played a night game before. And for several years after that, then, if there was a night game for TV, Musco Lighting was brought in to light up the stadium. They have portable lights on trucks that they could drive up and park around the field. So, the thing that made that “1812 Overture” so wonderful was-- I'm not sure if it's JHR or Mr. C. One of them made arrangements with the Iowa National Guard to bring 88mm Howitzers up and park one on each corner of the berm in the stadium. So, when we were supposed to have cannon, in place of a bass drum with the microphone, we had actually four cannons and the bass drums. No microphones. [laughs] But-- and then they brought out, I think it was, four sets of tubular bells. I'm sure they must have borrowed some from Ames High and probably Nevada. Maybe Boone. Maybe we had two at Iowa State. So, there was four sets of tubular bells down at the 50-yard line for the bells. And towards the end of the piece, when the cannons are booming, and the bells are chiming, those people with the bells were just hammering the daylights out of them. [laughs] And the cannons we're going off. And when the cannons went off, it was concussion in the stadium. I mean, you felt it. You heard it. It was fantastic. And then at the end of the show, they had balloons in netting all along the top, both sides of the stadium, and they let the balloons go. They fell down over the crowd and onto the field and covered the field. It was. It was just something. It was. It was awesome. You had to see it. That was, that was the best show ever.\r\nRW: That really sounds like a wonderful thing to have seen but also to have experienced.\r\nLF: Yes. I mean, that was one you felt.\r\nRW: Yes.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=2363.0,2833.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: So, you touched on this a little bit. Can you tell me more about the culture of the band? What was the culture of the band, and how was that culture shaped by members of the band, the drum majors, the director, the university, or events happening around in the country or in the world?\r\nLF: Okay. Well, in 1972–1975, you know, the culture was still forming. When JHR came in 1972, he started a revolution. He thought band should be fun. He didn't want a drumline [drum corps]. He didn't want a military-style band. He wanted a marching band that was fun and showy. And, the fact that it grew from 100 people to 300 people in three years—350 in 3 years, is a testament that he succeeded. At least in the early years. Now, in 1973, when Mr. C. was hired as marching band director, you know, nothing was ever the same after that, because it wasn't just JHR doing it. It was both of them.\r\nIn 1973–1974, our drum major was Karl Schloerke, and he had some unprintable, semi-unprintable dismissals, but they always ended with, What Big Eight university marching band is the best in all of Iowa, if not the world? Or he put in, the best in the Midwest, or the best in something, and if not the world? [laughs] And then, of course, you know, we all yell, Iowa State! And nobody ever-- No other drum major ever quite duplicated the Karl Schloerke dismissals. They were phenomenal. That did a lot to establish some of the traditions and the culture and character of the band.\r\nJHR spent time with the percussion section because we didn't have a percussion specialist. We-- Well, I mentioned, you know, the specials with Doc Severinsen and Wynton Marsalis [and Maynard Ferguson], those kind of things helped really cement the ban and the culture, the trips that we were able to take. Because the band members themselves were willing to sacrifice things. Nineteen seventy-two, we got a stipend-- or 1973, we got a stipend for being in the band. I think it was $50. So that helped to cover having to buy your black pants, having to buy the jacket, having to buy black shoes, and whatever else, and some of the extra time, and blood, sweat, tears, we put in. But, in order to travel in 1974, we had to take a cut in the stipend, and then in 1975, we voted to do away with it all so that we could afford to take the whole band someplace. And a lot of the traditions and the culture got established, not just in practice and in the games it got established on those trips. Like I said, the Bus Five culture, the 70/30 Club, the Cy’s Droppings. You know, all of those things came about because of the trips. And it wasn't just the leaders. It wasn't just the drum majors, the assistant drum—or the assistant leaders, and just plain assistants. It was really everybody in the band contributed to building the culture.\r\nLater on, I'll talk about LaVonne and Shelley [LaVonne (Salton) Anderson, Psychology and Leisure Services, 1978 and Shelley Smith, Speech, 1978]. They help to establish some of the culture. The t-shirts, the things like Cy’s Big Band, the powerful percussion, and I don't remember each of the sections had their own little saying for 1975 t-shirts. I don't remember what they all were. When we first went to Jack Trice Stadium in 1975, we were told that we could park in front of Scheman [Scheman Building] between Scheman and Lincoln Way, and we said, Well, what do we have to show so that the parking attendants will let us in? And they said, Well, just tell them [you’re] with your band. So we have our buttons [holds up a red button white text which reads “It’s okay, I’m with the band”], It's okay. I'm with the band. [laughs] And then, in 2000, we had [holds up a gold button with red text that reads “It’s OK. I’m still with the Band”], It's okay. I'm still with the band for the Alumni Band folks. And now that tradition is gone, we're no longer allowed to park out there. We have to park off in the boonies someplace and carry our stuff into Scheman, and that's not good. Especially for those of us that are getting old.\r\nBut the years that I was in band, the years I years I was at Iowa State, most of the traditions that are still part of the band now were established, and that's kind of an interesting thing to see. To come back and, you know, 50 years later, here's the band doing the same thing we did. [laughs] Kind of cool.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=2833.0,3307.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: Yes, so can-- do you--. Is there any more you'd like to add on some of your favorite marching band traditions, pregame rituals, postgame-- so traditions or rituals, or things that you'd like to share?\r\nLF: My pregame ritual-- other than deciding how cold or warm it was going to be and how many layers to put on, involved athletic tape [holds up a roll of athletic tape on a string with a silver drum key and brass double snap clip] and my drum key with my double snap-- and I hunted around to find one of these was made out of brass so it wouldn't rust. And I've had this since, I think, 1975, that I got smart and in place of just putting the tape in my pocket, then this way I could clip it on my belt loop, and I could always find my tape and when the tubas broke, or something like that. When the instruments had problems, they always asked for my tape. And, I played bass drum two years with Mark Halverson, and Mark was really good at going to the other teams’ athletic trainers and acquiring tape for us.  Sometimes, if I was desperate, I would ask our trainers for a roll, but, I tried not to do that. I tried to take it out of the other side. If I could. [laughs] Let's see. Yes. The reason I taped up is because cymbals can give you blisters, bass drum beaters will give you blisters. These are [holds up bass drum beaters] my special heavy bass drum beaters I had made up in 1974, I think. I wanted something with a big grip in place of just a skinny little 3/4 inch stick of wood, so I could really get a hold of it and really beat the drum. And then I wanted more weight out toward the beater ends, so it could hit harder. And my goal was always to put the beater through the head, which I only succeeded once, and that was because one of these heads came off and I hit the drum with the steel end before I realized what had happened. And then I quit with that hand. But later on that made a weak spot. So later on I did break that head. But that's the only head I ever broke. I didn't legitimately ever be able to break one just hitting on it.\r\nSo, what I would do is, I would tape up this finger here [shows left pointer finger]—I tore the tape in half. I don't know if you could see it, but there's a half here and a half here [shows the tape roll torn down the middle]. And I wrap this finger here, here, and here. Three places, so it could still move. Around my thumb and around all of these knuckles [shows the middle knuckles on the rest of his fingers on his left hand]. And then, around, the base of the hand here [the knuckle where his fingers connect to his hand]. Because-- I had to tape up the little finger because sometimes I hit it on the rim of the drum and that hurt, even if you had tape. But if you didn't have tape, it could get bloody. And so that-- for practice, I did a partial tape up. But for game day, I taped up everything everywhere. So, in the early years, we wore white gloves, so I taped up the gloves and then I could just slide it on and off. It didn't take that much tape. But then they did away with the white gloves, so I used a lot of tape. [laughs]\r\nMentally, you know, the first half of the game, I would go through in my head everything, you know, Out sixteen steps. Do this. Do that for thirty-two beats. So-- whatever this, that, whatever you're going to do. And then, if it was complex, or if we didn't have a lot of time to prepare, I'd write a little cheat sheet out and tape it to the drum. And it wasn't the music; it was the sequence of what we had to do for the drill. And that helped. None of us wanted to do a Hi, Mom. Hi, Mom is where you're moving when you're not supposed to be or when you turn the wrong way. It's like, Hi, Mom, see me? I screwed up. [laughs] And so we didn't want to do a Hi, Mom, and that was about it. I mean, other than trying to figure out how to dress, taping up, doing my little cheat sheet, and mentally going through it.\r\nMarion Hendrickson [Music Education, (1970-1975)] organized a roving polka band after halftime. Marion was a tuba player, and after he graduated he became a high school band teacher someplace in Iowa. I don't remember where. But I'm sure he was very successful because he had a great personality, and he had this German spike helmet that you would put on, and we go around in the stands like the roving bands do now. But we just played polkas. And I miss that. That was the most fun. I always went with roving bands whenever I could, but when Marion was there, I always went with polka band. That would just, just a lot of fun. I like going with the roving bands because you get to go up in the stands, and some of the fans up there are pretty cool, and you just have fun. Get tired, get beat [laughs], but it's fun.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=3307.0,3764.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: So, you mentioned a little bit, you've shown us now a little bit too, of the band's uniforms. Can you tell me more about the band's uniforms during the years you were in the band?\r\nLF: Sure. Yes. When Jimmie Howard Reynolds took over, he didn't like the old uniforms with gray pants creased with a military-type stripe running down the leg, and so he just dispensed with that. And we all had to buy a gold jacket. We had to wear black pants and black shoes, and that was our uniform. Except for we had to wear our little red berets [puts the little red beret on and smiles]. Aren't we cute?\r\nSo, 1974, we had to buy a different jacket. They were yellow, not gold, and they had a lining in them. And the 1975-- I held up this jacket before [holds up the yellow marching band jacket again, showing the logo on the back, which says “Iowa State Cyclone Band” with a drawing of Cy as a drum major in the middle]. That was-- the jackets had this logo, and the 1975 jacket said, “Cy’s Big Wind” [shows the front left breast of the jacket which says “Cy’s Big Wind” in red text].\r\nAnd in 1975, the rest of the band got-- I don't know how to say it. It was more of a canvas material where this is felt [touching the red beret he is wearing], and it was bigger, and it had embroidered on the top “Cy’s Big Band with Cy on the top. And I always wanted one of them. They were much cooler than this thing. But percussion had to wear these, and tubas had to wear these [indicating the red beret]. We didn't get the nice berets.\r\nSo, that was 1973, 1974, 1975. And in 1978, the rest of the band got real uniforms. I think it was 1977 that somebody made-- I think whoever was working with the banners made what I called the jester uniform. It was a shirt that was-- had four pieces, basically, it had like a red half here [upper right chest], a gold half here [upper left chest], a gold half below on this side [lower right chest], and a red half below on that side [lower right chest] and those were what the percussion wore in 1977 and 1978. And in 1978, we got the Cy’s Big Wind berets because the band had the fancy shako hats, you know, with the plume. So, I did get to wear the Cy’s Big Wind hat eventually. And I was able to buy one at one of the auctions, but unfortunately, at one of the Alumni Band things, it disappeared. So, I don't have it anymore.\r\nLet's see. I think that pretty much covers the uniforms. It was always a challenge to try to raise money to buy uniforms. I was always kind of ashamed to go out wearing a gold jacket with black pants at Iowa State.\r\nRW: That's understandable.\r\nLF: But I liked having the jester shirt better. At least it had some red on it. So, Yes. Sometimes I think we'd been better off wearing our red t-shirts, [laughs] but such is life.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=3764.0,4060.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: Yes. So you've shared a bit about travel, traveling with the band, the places you've been. Can you talk a little bit more or share-- I know you said, I'll talk about that later. So maybe there's a few things here you want to share about the experience of traveling with the band, tradition, funny stories, things like that.\r\nLF: Traveling with the band was always a trip and some of the things I'm kind of saving for later. I'll talk a little more about that. And, like you, said some of it I've already kind of described. I don't want to talk too much at this point, because that'll steal the thunder from some of the other stories I have saved for later.\r\nRW: Okay, no problem. We can move on to the next question.\r\nLF: I wish I could remember more of the things that went on on the buses, but you know, it's like, Eh, you know. Going there. We just want to get there, and on the way back you're tired and I don't know. There’s lots of funny stories. There were a lot of funny things that went on, but I don't remember many specifics. It was a long time ago. [laughs] Unfortunately, I'm getting old.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=4060.0,4156.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: So, you mentioned this as well. So, you said you performed both in Clyde Williams and Jack Trice.\r\nLF: Yes.\r\nRW: What was it like performing in each of those stadiums? And what was it like to perform at ISU stadiums compared to performing at other schools?\r\nLF: Oh, okay. I loved Clyde Williams Field. It was so small. If you sat on one side, you could pick out the people you knew on the other side. And it was very intimate. You know, it held, I think, 25,000. You know, 25,000 of your closest friends, but you can still see whoever's on the other side over there. And, you know, there wasn't a game I went to there that I didn't see people sitting on the other side that I knew. And that was one of the neat things about Clyde Williams. And Clyde Williams, there was a lot of mud. I mean, not every game, but if it had rained, sometimes they wouldn't even let us play because we would make the field too muddy for the team. And that was a disappointment when you practice for a week or two, and then you don't get to do the show. The steel addition at the east side and the south end zone to Clyde Williams-- when the crowd really got going, like if they were clapping or stomping, that whole thing would start moving up and down, and you think, Yeah, this is cool, but I hope the thing doesn't collapse [laughs] And after the first few games, when I got used to it, I knew it wasn't going to collapse, then it was fun. Let’s see if I’ve got any other notes here. I think that was all about Clyde Williams.\r\nThe new stadium, we watched them building it, and then we watched them rebuild it. Because they kept piling up the dirt when it was frozen, and then they started building the columns for the west side, and then all the frost melted about five or ten feet down, and this column started moving, so they had to take them out and start over again.\r\nAnd it was--. Well, a couple of weeks ago, there was a thread on Facebook Alumni Band page about, What was your first experience in the stadium. And there were several people that commented about, you know, what it was like the first time. And Sue McMurray had a good comment that it was just an awesome thing to be the first to play pregame and halftime in a new stadium. And it was big and it was a long way from one side to the other side, especially if you're up in the nosebleed sections. When it first opened, there was just two sides. There was no Jacobson Building. There was no bleachers in the end zones, although the bleachers came in pretty quick in both end zones. \tAnd it just never felt as intimate and as homey as Clyde Williams Field did. And the students at the time, all wanted the stadium called Jack Trice Stadium. And the university administration was dead set against it. And so, it went nameless for a long time. And then they decided--. Finally, they could call it Jack Trice Stadium and Cy-- or Jack Trice Field and Cyclone Stadium. So, then it was Cyclone Stadium, and then finally, in 1997 [Faeth holds up the front page of the Iowa State Daily with a headline that reads “Trice Stadium is in”], the regents [Iowa Board of Regents] weighed in and they decided, Yeah, we can call it Jack Trice Stadium because no McDonald’s, no rich whoever came along and said, name it after me. Here's your millions and millions and millions of dollars. So, you know, Jack Trice, I think, was deserving of having the stadium for him. I always call the Jack Trice Stadium because we thought that's what it should have been named in the beginning. And finally, it got there.\r\nJack Trice Stadium didn't have mud. It had carpet. So that was a whole other thing to learn about was how to turn on the carpet and if you were unfortunate enough to fall it was not a good thing. [laughs] It was not as forgiving as the grass was-- and the dirt and the mud. And eventually they put the turf back in and took out all the carpet. So we're back to kind of where we started from, except they've got a lot fancier grasses now that take the punishment better.\r\n[The] stadium at Kansas, I don't remember a whole lot of detail about it other than it was just another stadium to play in. Nebraska, all I remember there is the sea of red and they were nasty [laughs]. And the Oklahoma Stadium, that was the first one we played in that it was kind of like Jack Trice, except they had both ends closed in. And it held, I don't know what it was, 50,000 or 60,000 people, something like that. That was, that was the biggest stadium—Well, no, it wasn't either, because the Kansas City Chiefs, I think, was bigger. Kansas City Chief’s Stadium, I don't remember a lot about it because we had to sit on chairs on the sidelines, on folding chairs. But what I remember about the Kansas City Chiefs games is, you know, them being down and I kept trying to get the percussion section going as cheerleaders. And yelling at them, you know, Come on! You could do it! And they pulled it out, and they won, and I still think it was partly because of us [laughs] encouraging them. But who knows? They might have won it without us. Who knows?\r\nBut I think that's about all the stadiums I've been in. And each one's a little different. Nebraska, that was a big stadium, and I just remember the wind, and that everybody was wearing red, and nobody there liked us. [laughs]","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=4156.0,4689.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: So, did you-- while you were with the band? Did the band perform any special events like bowl games, parades, or concerts? And what do you remember about those performances?\r\nLF: Okay. Well, the first bowl game I had experience with-- sort of, was 1971. They went to the Sun Bowl. I didn't. In 1972, they went to the Liberty Bowl. I didn't. In 1973, 1974, 1975, there was no bowl game. And 1978, they went to the Peach Bowl. But unfortunately, even though I was eligible that year, I didn't get to go because of other commitments. And I've always regretted that. And that bowl trip made a whole lot of stories because they flew back on New Year's Eve. And it turned New Year's Day two different times on their flight as they were crossing time zones. So they all celebrated New Year's Eve twice on the airplane. [laughs] And it was a trip. And I'm sure it was a good experience, for everybody who got to go. Let’s see.\r\nOh, yes. In 1978, we made a record in C.Y. Stephens [C.Y. Stephens Auditorium], and for some reason, Mr. C. told me to play the four-beat transition from whatever we were playing before to “X Cadence,” which is the fast one where the band does the cyclones. And so, you're supposed to be going along at a, I don't know what, say a ninety beat per second pace and then switch to one hundred and twenty. Well, I remember very well. I screwed it up. I started out too slow with the first two beats, and then I thought, Uh-oh. So, the last two beats were at 120, and then we kept playing X at 120. So it was okay. But wherever that record is, whoever has it, I got a big Hi, Mom, right in the middle there. [laughs] That was me.\r\nYes, and I guess, the other one was one I already talked about. Playing the “1812 Overture” in C.Y. Stephens and being the canon with my own private director. That was a really neat experience.\r\nWith the Alumni Band, when they built the Alumni Center, and we did the first-- what’s become known as the step show, in front of the Alumni Band-- or the alumni center. That was an interesting experience because it was something different, and it's become a tradition now. For every home game, they go over there and play and everybody loves it. I think that's about the extent of the special events that I can think of other than we played in the VEISHEA parades. Those were always fun. We used to march, and then we started riding-- the band started riding on a hayrack, and then the percussion would march. And then I think the last year I did it, I think we all just sat on the hayrack. [laughs]","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=4689.0,5031.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: So, in your mind and your experience, what sets the Iowa State University Cyclone Football ‘Varsity’ Marching Band apart from other marching band programs?\r\nLF: I think Karl Schloerke, with his dismissals of, What Big Eight university marching band is the best marching band, if in Iowa, if not the world? Set the goal for everybody. And we always tried to be the best we could, to work together, to put on a good show, to have fun, to make the show fun for the crowds. And that was an effort from JHR, Mr. C., the various drum majors, the other student leaders and grad student leaders, and everybody in the band themselves, the veterans returning showing the newbies the ropes. And, I think, the culture of the band was set early in JHR’s tenure and it has continued to try to be the best.\r\nI know, I probably know more about the U of I [University of Iowa] band than any other band besides Iowa State. They've got their traditions, but they're different. KU, when we went down there, they had an alumni band. Their alumni band just sat in the stands and played music. Our Alumni Band from the very first time went out on the field and marched and played and we did our little bit, and then we were joined by the varsity band, and we did our combined bit. And there's other bands-- other university bands now doing that but at the time we started doing it I didn't know of any other alumni band that did it. I'm not saying there aren’t. There probably were, but--.\r\nYou know the recognition in, I think it was 2017, of our band getting this Sudler Award as one of the best bands in the country. That's recognition that some of the things that we started and that everybody has built on were good.\r\nYou know, there's so many sections in the band that did things. There's individuals and groups of people that did things that set the culture, and that's what separates our band from everybody else's. Nobody else had LaVonne and Shelley. It was right after-- on TV. There was Laverne and Shirley Show. We had LaVonne and Shelley, and they did their antics. You never knew what they were going to be wearing. You never knew what they were going to be doing. But it was always fun, and it was always funny. And every Halloween, LaVonne wore her great pumpkin costume. It is this big four-foot diameter pumpkin that she wore. And I don't know how you do some of the drills in a pumpkin, [laughs] but she did it. And, you know, all of those things made our band different than anybody else's.\r\nI think Jimmie Howard Reynolds’ goal of having a band that was fun to be in and fun to watch carries over because-- I don't remember when it was. They did the dinosaur halftime show. That's another epic. [laughs] That's an epic show. That's probably the one that, to me, is as memorable as the “1812 Overture” the first time we did it. They've done it other times, but because of the changes to the stadium, they had to put the howitzers outside. And so, there's no concussion inside. You just hear this muffled boom from outside. And it's not loud, you don't get shock waves, it's not the same as when those cannons were sitting up on top of the hill, and the concussion filled the stadium.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=5031.0,5479.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: So, if you're ready--. Did you receive any advice from other band members or pass along any advice to incoming band members?\r\nLF: My first year I got a lot of advice from Jim Fisher. Like I said, he was very much into being a professional cymbal player, and being the best he could, and making the cymbals look the best they could, and doing things the best they could be done. And when you're playing cymbals, everybody can see you. When you're playing bass drum, everybody can see you. Especially, you know, in the older days before they had five tuned bass drums when there were just two of us out there. And Mark and I would usually turn and face each other and try to match our movements. So, if we're facing--. If I'm--. If Mark's using his right hand, I'm using my left hand, and vice versa, so that we're together, but we're actually mirror image. And stuff like that was fun and interesting. And I learned a lot from Mark. He was a much better musician than I was. He actually tried to read the music, you know. [laughs]\r\nSo, as far as me giving anybody advice, I don't remember that much of--. Mostly just tried to be in the group, do the best I could, and try to keep us all together and going in the same direction.\r\nIn 1978, being the old guy in the percussion section, I felt it was my job on the first meeting to try to get everybody together, to like each other, to get to know each other better, to do things together outside of band as well as inside. I tried to get everybody to go to Cy’s Roost upstairs for FAC every Friday after band. And not everybody came all the time, but most every, I think, most everybody came most of the time. But that group became so tight, and we gave--. We became such good friends that it's continued all through Alumni Band. And they already had--. Nineteen seventy-seven, they started calling Bill McAfee [William McAfee, Computer Engineering, 1979], Dad, cause he was the old guy. And so when I came in, I was older than Bill and been there in band before Bill, and so I said, Well, I guess I'm Grandpa then. So, I tried to make myself a spirit leader or a spirit captain, or whatever you want to call it, to just try to build the friendships. And, like I said, Maynard Ferguson recognized that, being a musician-- a good musician. And for the first thirty or so odd years of Alumni Band, we were the core of the percussion section. There would be some more recent graduates during the percussion section some years and some for a few years-- Creighton Gaynor [Music (curriculum), 1996[?]] was one of them, Stan Dahl. But they tried to fit in with us rather than trying to get us to do their thing. And so that is just kind of an indication of how well we came together in that 1978 year.\r\nSue, to this day, has not ever missed an Alumni Band. I didn't miss any until 1988 when we moved to Hawaii. And I came back in 1991, and then from 1993 to, I think, 2017 or 2018, I didn't miss any. So, it was--. It's been an important part of our lives, I guess. Bill McAfee (Dad) and Mark Halverson, they made most of the alumni bands. Brian Boesenberg [Construction Engineering, 1978] and Pam Hutchinson [Agronomy[?] (AGRON-PM), 1980], they were part of that group. They’ve made almost--, well, more than half of them. They made what they could, you know, jobs, and living far away has impacts on being able to get to Alumni Band. [laughs]","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=5479.0,5714.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: So while you were in band and in school, how did you balance being in band with your academics and other parts of your life?\r\nLF: Well, you just got to get your priorities right. [laughs] It's like I said in the beginning, you know, I figured out in 1973 that it was more fun and more important to be in band than it was to do any of the other classes. So, that was kind of how I did my balancing. I made time for band, and the other stuff had to fit around.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=5714.0,5944.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: And how do you feel? The marching band has changed over time.\r\nLF: It just keeps getting better and better and better. We were good. We did crazy things, but I would never be able to be in the band the last thirty years or so, probably, maybe more. I didn't have the talent. I wasn't good enough. You know, I'm proud of how good the band has gotten. I'm proud of how good and tight, and respected the drumline has gotten. But I'm kind of sad, too, to know that I would never make it now. [laughs] But, sometimes I wonder, you know, because the band is so good if they miss out sometimes on somebody that's not that good of a musician but would be a good addition to the band for that spirit or culture or togetherness, whatever you want to describe it as. Because that's an important part, too. But I don't think the band is short on those people from what I've seen. They're doing just fine, thank you.\r\nI think it was probably thirty years ago or so that I first-- it occurred to me first that the drills that we were doing as Alumni Band, learning it in one day and performing it, were harder than what we ever did when I was in the real band, in the varsity band. And that's a testament to how much better they are. And even as Alumni Band, we kept getting better, too. And I think it's amazing, you know, that there was such a rocket ride the years I was in band of just going up and up and up again. So much better every year they can't maintain that it becomes a parabola, and it levels off, and the improvements become smaller increments. But, that said, the band is still getting better every year, and it's amazing. I'm just so impressed with our band.\r\nCulturally, yes, you know, some things change, but some things haven't. And I think the basis of the culture of being a fun band to be in, being a fun band to watch, and trying to be as good as you could be. I think that still carries over. And I think that that dinosaur halftime show is a testament of that. That was just an incredibly creative show. And they did it well.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=5944.0,6186.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: While you were in band, did the band experience any difficult times?\r\nLF: Oh, yes. When Jimmie Howard Reynolds came, there was no money for uniforms, drums, tubas, other brass, low brass. The band borrowed instruments from the surrounding high schools. In 1975, the university cut funding. If we wanted to travel, we had to give up part of our stipend in 1974 and all of it in 1975. The stipend wasn’t much, but it did help when you're in school and struggling financially. It was a kind of a reimbursement for some of the expenses that we had to make to be in the band. Nineteen seventy-eight, the funding was cut again. You know that was cleaning the stadium, that was, that was a bad, bad thing. [laughs]\r\nYou know, I mentioned before that Lou McCullough, as athletic director, didn't support the band. Well, they had money for anything they wanted. They could buy new uniforms, new everything. [The] university didn't, didn't support us in those days. We had no credibility with the university or the athletic department. And being invited to the Chiefs game and the ovation that we got at Oklahoma, that was the first recognition we got, and it came from outside. And unfortunately, I don't think there were any officials there in Oklahoma to see what we did to their crowd.\r\nThe tuba is probably the most visible thing in the band, and in those early seventies, we were playing with, you know, fifty-seventy-year-old tubas, borrowing tubas from high schools. Some of them were fiberglass, some were brass, and a few were old silver ones. They didn't-- they never matched. Mr. C. saw to it that priority was given to buy one tuba per year and that was hard to do.\r\nEvery year, JHR had one or more head-to-head showdowns with either Lou McCullough or the university administration, trying to get uniforms, funds to travel, funds for instruments, a place to sit in the stadium. You know, we were never given good seating. It was always, you know, whatever they knew they couldn't sell. Then they put the band there and then when the years were good, we had to sit on folding chairs in the corner, on the sidelines. If it wasn't so bad. We got to sit on the end zone. And, you know, it was always very clear that neither the university or the athletic department was much interested in the band. Even though we-- the marching man exists to help the football program, basically.\r\nYou know, the fact that we had a band invited to Oklahoma but no uniforms should have embarrassed the university. It should have embarrassed the athletic department that we had a band getting better and better but no uniforms. But all this took a toll on Jimmie Howard Reynolds, and that led to him looking for greener pastures and less stress. So, you know, that was a sad time when he left. And it was a sad time when Mr. C. died early. This is [holds up an armband] the arm man that we wore to the game the year that Mr. C. died. And--. But you know, whatever happened, we made it work, and we were able to keep getting better and--. Even by 1978, even though Earle Bruce didn't appreciate us, we were getting recognized as a good band.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=6186.0,6622.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: So, can you share with me what marching band means to you?\r\nLF: Marching band has been an important part of my life. I've made lifelong friendships. I learned to be a better musician. I learned that being a musician wasn't the whole thing. You have to work with the other folks you're with and learn to become a cohesive group. You know, it's an amazing thing that you can 350, or however many people, and put them out for seven minutes to do a piece-- several pieces of music and a halftime show drill, and, for the most part, everybody does it right, and it's a coordinated effort of that many people in that short of a time, to do something that complex. You know, from time to time, there's some activity, something that I do, that kind of like a little piece of that. But nothing ever really matches the size and scope of what we did in marching band—and Alumni Band.\r\nIt's fun. It's friends. It's music. It's travel. It's a workout. You know they--. The athletic-- or PE departments never appreciated that marching band was work, a workout. But I will guarantee you that marching band with a tuba or marching band with a drum is physical exercise. It's a very physical thing. Blisters. Athletic tape. Cold. Overheated. Wet. Snow. Mud. Misery [laughs] and back to having fun. Accomplishing something with a group of people. You know, that's not always easy to do. Oh, no. I don't think I would have finished college if it wasn't for marching band.\r\nWe were the original drumline. We were the original 70/30, 80/20, 90/10, 98/2 Clubs. We were the original Alumni Band. We were the original alumni drumline. We were the original Coach McKinney’s drumline. And we recorded the introduction for the Coach TV show and got rewarded with a whole bunch of coach tapes, which I think there's still a couple of hundred of them left in the music building. They got to be where they were booby prizes for coming to Alumni Band. I think, far as I know, we originated alligator fights, and we put the varsity in the ISUCF‘V’MB. So, those are some of what it means to me to be in marching band.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=6622.0,6926.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: Thank you. Throughout our talk today you've shared a lot of memorable experiences and moments also about your involvement in the band and in the Alumni Band. So, I'm just going to combine the last few questions and ask if there's anything else that you want to share with us, whether more memorable moments, your involvement with Alumni Band, or anything else that you feel like we haven't covered today.\r\nLF: Yes. I have a few. Ideas or instances that I made notes about. You know, one of the things is the birth of the ISU drumline. You know when--. My first three years in band, JHR, Mr. C. would just call us percussion section. In 1975, sometimes JHR would call us, Hey drumline. But we weren't the drumline, you know, that was just like a nickname. And, because we got so tight as a group, in that 1978 percussion section, that really was the birth of the drumline. And, Coach McKinney had a lot to do with that. He was soft spoken. He was from Georgia. He's got that Georgia mushmouth. But he's also demanding and he expected perfection. And so, you know, we tried to meet all the demands, and to get to that level of perfection. And we did a pretty good job of it, actually.\r\nJim McKinney brought a cadence called “Jungle Boogie” that was a lot of fun to play. And Pam Hutchinson made up a song to some tune she knew, I think, called “Coach McKinney’s Drumline.” And so we would sing, We're “Coach McKinney’s Drumline” going to the stadium, coming back from the stadium, other times-- whenever on the bus, or--. You know, that was all part of bringing about what became the real ISU drumline.\r\nWhen I played cymbals with Jim Fisher, we were part of the percussion section, but we really weren't. It was all the drums. The drums did this, the drums did that, and we stood off by ourselves and did the cymbal crashes, you know. Well, Jim McKinney changed that. He brought the cymbals in, had them stand next to the snares and had the snares do the ride cymbal with their sticks and made it a cohesive group. And that helped, too. And that's kind of how the drumline came to be. I wrote all the names of everybody in our 1978 drumline on a piece of paper at the end of the season and stuffed it in my billfold, and I carried that probably eleven or twelve years until it disintegrated. And, unfortunately, I never copied everybody's name over. So now I can't remember everybody. But, you know, that's--. I guess that's part of what the drumline meant to me, too.\r\nI-- My bass drum partner, Mark Halverson, and Dad, Bill McAfee, weren’t in that 1978 drumline. But I consider them ex-officio members, because they contributed a lot to what we all became. They became--. They contributed to the culture that the drumline-- Mark made a lot of suggestions about bass drum sticking. And I think it was his idea-- it was either his or Mr. C.'s to have us face each other. And I like that because then Mark could read the music, and he could lead, and I'd follow him. [laughs] I didn't have to learn the music.\r\nYou know, the drum line is a leadership section in the band, and the bass drum is a leader of the leadership section. And one of the things I learned was you can't be hitting the drum at the exact time the director’s hand is at the bottom, or the top, or the side, or wherever. You have to be just--. You have to hit the drum when it's about there before it gets there [demonstrating with his hand]. And--. Otherwise, you get accused of dragging. And so, you know, it's an art form in that leadership role of how do you lead these people with the beat? And that's why, for most alumni bands, I don't even look at the music. We just go out there and lay down a solid beat that fits the music and vary it as it needs to be varied in the music. And we make up our thing, and a lot of times we read the music. We're actually pretty close. [laughs] But, you know, the fact that that drum line carried the Alumni Band for at least thirty years is another reason why I say we were the original drumline because we were that tight. Okay, enough of that.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=6926.0,7436.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LF: Now let's move on to Earle Bruce. Earle Bruce was the football coach in the early seventies, and he came from Ohio State, and he had two plays. Dexter Green was the only good running back we had, so his plays were Dexter Green up the middle and punt. So, you know, the chats in the stadium were, Up the middle, up the middle, up the middle, punt. Up the middle, up the middle, up the middle, punt. What I'm saying is Earle Bruce had not much imagination.\r\nWhen we practiced behind Beyer Hall, the football team practiced in the center, closer to Town Engineering in the same field there. So, you know, we would see Earle Bruce and all the coaches walking in or walking out. So, you know, one time I decided, well, if I'm close someday, I'm going to say Hi to him and see what he does. So, I did. I don't know, three, four feet away from him, say, “Hi,” and nothing. Just walks on by. I don't exist. Okay? Well, so much for you.\r\nSo, when we were cleaning the stadium in 1978--. The band had to do that to make money to travel. And it was an awful thing to do. I mean, cleaning the stadium seats was bad enough. It's amazing what supposedly civilized people will leave behind. And then, when you get into the bathrooms it's even worse. And Jimmie Howard Reynolds had made arrangements with Lou McCullough that on the day we were supposed to go to Kansas City for the Chiefs game-- right after we cleaned the stadium. So we get up in the morning, we have our run through, we go to the football game, we do our halftime show, we clean the stadium, we're supposed to be able to take a shower, get all that awful crud and who knows what kind of diseases off of us, and then get on the bus and go to Kansas City. So it was a long day at best. So, we clean the stadium and the men were supposed to go to the home locker room and the women were supposed to go to the away team locker room, and we were supposed to take showers, change clothes, get on the bus nice clean and shiny and feel like, you know, if you're hungry after all day you might be able to eat something. Well, we walked into the locker room and we're-- I don't know. There must have been at least eighty of us in there at that time. And we're just kind of looking around trying to figure out where the showers are, and where we're going to change, and getting oriented. And here comes old Earle Bruce walking out of a hallway, and he's got on a green, looks like an army-issued t-shirt and boxer shorts, and black socks up to his knees, and then garters above his knees. And he walks in and says, “You can't be in here.”\r\nAnd I said, “Lou McCullough said, we can. Lou McCullough said we could take showers.”\r\n“You can't be in here. Get out.”\r\nI said-- Several of us at that point said, Look, Lou McCullough said we can use the locker room to take showers. We just cleaned your stadium. We're filthy.\r\n“You get out of here. I'm going to call the campus police.”\r\nAnd at that point, I said, “Look, you know there's enough of us. We could pick him up and throw him out, lock the door.”\r\nAnd then he says, “You can't be in here. This is a varsity locker room.”\r\nAnd Tim Jensen [Political Science, 1985 and Public Administration, 1986] , who I played bass drum with that year, was standing right next to me because we were kind of like, not-- we weren't as close as I was with Mark, but you know, we played together, we stayed together--. And Tim says, “We're the varsity band.” And that's how we got to be known as the varsity band.\r\nNow Tim's version's a little bit different. But I tell a little more of the preamble and some of what I did and what I thought. And Tim doesn't do that. [laughs] But I wanted to pick him up and throw him out. So, ever after, we are the varsity band.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=7436.0,7837.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LF: Alright, so we finally left, and we get on the buses, and I was all dejected—rejected, whatever. And I'm like, I don't even want to touch anything with these hands. You know, back then, you weren't given disposable gloves and stuff to clean the toilets. You just did it. And so I'm hungry. I'm tired. I'm dirty. I'm miserable. And I sit on the bus, and however much time later, we get to Kansas City. And we were to stay at the Crowne Plaza Hotel, which is owned by the Hallmark-- or the Hall family of Hallmark. So, it's like Hallmark’s got this crown that's their little logo. Well, this is the Crowne Plaza. And it's, you know, it's a nice hotel. It's pretty fancy for us grubby people to be walking in who didn’t get to change our clothes. [laughs] And so, we have to wait around, and we're assigned, I think, four to a room it was, and we get our keys and start walking down the hall. And on the wall here, I'm looking at this sign as we're about to go up the stairs, and it says, Exhibit Hall that way. Restrooms that way.\r\nYes, I looked down, I--. You know, if you took one arrow out, it says, Exhibit Hall Restrooms that way. Because the joke was Exhibit Hall never had any restrooms. If you wanted to go to the bathroom you had to go next door to the old brick building they called the Engineering Annex, which is now also long gone. But it had a couple of crappy small bathrooms in there, and if you wanted to change clothes, you have 350 people trying to change clothes in a two-holer bathroom.\r\nSo anyway, we went up, and I finally got my shower and got to-- I think I got something to eat. I don't remember. And went to sleep, and [the] next day we get up, go out to the Chiefs, and we get to go through a practice run of our halftime show, and we do the halftime show. And, like I said, they were down the first half and losing, and like, Come on, guys. We're cheering them on and they finally won. So, we get on the buses. We go someplace and eat-- get a real meal. And go home.\r\nWell, next week, outside-- Exhibit Hall had a roll-up door on the west side of the south end and a walk-in door on the north [LF note: east] side of the south end, and that was it. It was a horse barn, okay? It had a man entrance and a horse entrance. So, the next week, I'm walking into Exhibit Hall and go through the man-door, and here, sitting on the side of the wall, is this sign from the Crowne Plaza Hotel with the one arrow crossed out, and it says, Exhibit Hall Restrooms, that a way. [laughs] So, the whole varsity band, the Exhibit Hall building, the Exhibit Hall restrooms, and all that all ties together.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=7837.0,8077.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LF: Let's see. I talked a little bit about Bus Five--. Yes. I think I pretty well covered the legend of Bus Five. [I] talked about the polka band. And I talked a little bit about playing the bass drum, but I've got some notes here on that. What I lacked in ability, I tried to make up with dependability, punctuality, spirit, and team building. In the weeks before the start of the 1973 season, I got the music for the cadences, and I worked on trying to memorize that. And getting the right-handed sticking, because I had to learn to play right-handed. But it was much easier to learn on a bass drum than it is to learn right-handed snare drum. I never could master that.\r\nYou know Bob and Mark and Tim, all my bass drum partners, all tried to read the music and watch that. But I was more interested in listening to the music and laying down a beat that went with it. And so it was usually some kind of a blend of the written music, and what we made up on our own. On the field, it's more important to lay down that steady beat, and, like I said, be just a few milliseconds ahead of the director so that you're not dragging. You know, every director had a-- has a different style. Most of the student directors-- drum majors, they're pretty plain. Jimmie Howard Reynolds had a very unique style, and it was hard to follow but I was in his bands enough that after the first year or so, I was able to follow him pretty well. And Mr. C. was-- he had a distinct style, but it wasn't as wild as JHR’s and it wasn't as hard to follow.\r\nOne of the things I always tried to do, playing marching band in the stadium, is to play as loud as I can. So that it's heard through the stadium. Whether the bass drum is pointed your direction or not. You know, unless it was a pianissimo part of the music, my goal was to break the head every stroke. You know, we did--. It's not like a Scottish pipe band or anything like that, where they do all the fancy stick twirling, but Mark and I tied the original, the official drum-- bass drum beaters, to our hands so we could swing the stick. So, we did a rest position like this, with the beaters behind our shoulders [demonstrates], and then we’d twirl the sticks and come down like this by the bass drum. And then, at the end of the music, it was the opposite. We twirled the opposite way and then land them on our shoulders and stuff like that. And then stuff like I talked about before, the facing each other and mirroring. And Mr. C., in 1975, had us do a bass drum dance at the 50-yard line. That was just me and Mark. And I was scared to death. But I learned the steps enough in that week that I could manage to do it and play the bass drum. Although, I probably was not--. I was playing triple f, not, break the head-- [laughs] triple forte. But not--.  I couldn't do that and try to break the head too. It was too much for me. [laughs]","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=8077.0,8410.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LF: Yes. I already talked about the taping up and my handy dandy roll of athletic tape. Nothing else worked as well as this stuff. I tried adhesive tape and it's too stiff and cost too much money. And, Man, that athletic tape, that really works. So, anyway, I guess that's about the end of my stories I can think of now.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=8410.0,8437.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LF: I've got one more--. Actually, I got a few more shirts. I never showed off. [Holds up a red shirt with a gold graphic of a large ISU with a drumline marching through it] This one was the 1978 drumline shirt and this is also a Sue McMurray design. She did the 1976, and she did the 1978’s. And I actually have two of these because if you look down at the bottom there you see the hole [holds the shirt higher to show a hole near the bottom]. That's where the bass drum hits my belt and so I actually bought a second one so I had one that didn't have a hole in it. And my “Stick It” sweatshirt--. I didn't hold it up high enough, but it's got a hole in the bottom, too, from my belt.\r\nAnd this was a 1978 [LF note: 1994] Alumni Band shirt [holds up a folded white t-shirt with signatures in multiple colors] where everybody signed. Sue Hummel on the back there, that's Sue McMurray after she's-- her married name, and Bill McAfee and Mark Halverson's there. And--. There's Marge Bennett Folger. She directed a lot of plays at Fisher and C.Y. [Fisher Theater, C. Y. Stephens Auditorium], and then she went to teach at Tampa, at the university there.\r\nAnd then we had our formal wear [holds up a red polo with a gold logo on the right breast that says, “Cyclone Marching Band” with “ISU” in the middle], our knit shirts. The red ones and the gold ones [holds up a similar polo in gold with the logo on the left breast]. And then there's Alumni Band shirts [holds up a white t-shirt with a red and gold music staff, the text reads “ISU Alumni Band, 20th in 2000, October 20-21, 2000”]. This was a 20/20 shirt for our twentieth alumni band.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=8437.0,8563.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LF: And in with all of this clothing I found a few pictures that are kind of interesting. This is the 1998 Alumni Band percussion section [holds up an image of ten individuals wearing red and standing with drums and drumsticks]. I don't have another picture, so I can't tell you who's who without--. Okay. [The] two guys on the left are younger guys. There's Creighton, and then there's Sue McMurray. And then me. And Mark Halverson is next to me. If I can get it so there's not glare on it. And, let's see, second from the right, that’s Stan Dahl. He graduated somewhere in the nineties. And then the end is Pam Hutchinson. The one that wrote “Coach McKinney's Drumline.” So, anyhow. I need to write this up and put some real pictures with it, but we'll see if that ever gets done. [laughs]","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=8563.0,8652.0"},{"id":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860/transcript/72118/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RW: Well, Loren, I want to thank you so much for the time you spent with me today, sharing your experience with the marching band and the Alumni Band. Clearly, a very meaningful experience then and now. So, thank you so much for contributing to the Cyclone Marching Band Oral History Project. And I hope you have a good rest of your evening tonight.\r\nLF: Well, thank you. And like I said, I think I've got kind of a unique perspective because I saw the old band, and I lived through that rapid growth part, rapid improvement part, and the beginning of the Alumni Band and all the things that have just kept getting better and better and better. And you don't often get to see that.\r\nRW: Yes, definitely, a special time.\r\nLF: Yes, it was.\r\nRW: Thank you so much.\r\nLF: Thank you.\r\n\r\n\r\n1","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/3021/collection_resources/137689/file/254860#t=8652.0,8723.776"}]}]}]}