With seven national titles to their credit, the Sunrisers have put up some of the most impressive statistics in senior drum corps.

Their fascinating early history is related by John Hodge, a member of the Sunriser Hall of Fame: "It began in 1950 at a Marine Corps League meeting in Lakeview, West Hempstead, Long Island. Being gung-ho with still the Marine Corps blood in my veins from World War II and anxious to promote youthful projects for my organization, I made a motion on the floor at meeting to organize the Marines Memorial Drum Corps of Nassau County. Ed McAvoy, a drummer, and Ed Ryan, bugle man, offered to assist me.

" Our first instruments were purchased from the Hempstead Fire Department: four snare drums, two bass, 15 G-bugles, cymbals, etc., for $140.00. But by 1953, it was too much for the youngsters to handle. I started thinking big. I sent word out announcing the formation of a senior corps. It wasn't long before my phone started ringing at home! Former players from pre-war corps had moved to Long Island and wanted to be a part of this new group!

" It was in the spring of 1953 when I first met Ray Nichols, a bugle instructor. We had assembled a 12-man horn line, (including) Bill and Lillian Linde, Bob Staudt, Jack Grave, Bill Butner, Ed Dingle, Ray Anderson and me. The new drum instructor was Herb Wier; bass drum instructor was Harry Porfat, and bass drummer from an ancient fife corps, the one and only Fred Rose.

" New valve horns were purchased, as well as drums. New uniforms were designed by Lillian Linde, Howard Larsen and me - made in Nassau County colors: orange, blue and white. Ray Nichols had written some new French music. To honor this music, blue berets were the new headgear for the corps.

" One evening in 1954, while sitting home studying my baritone parts, I jumped up from my chair to turn the radio up loud. What I heard was Les Paul and Mary Ford playing The World is Waiting for the Sunrise. I grabbed my phone and called Ray Nichols. 'Ray!' I said, 'I have a terrific idea! How about a new name for the corps?'

" Friday night (rehearsal) came. Out came the announcement. A great ovation came from the members! The new theme came out of Ray's briefcase. There was electricity radiating through the entire corps when they started reading their parts. This is our song. Wherever we played it, people knew that there was only one Sunrisers and that made us feel proud!

" Through the years 1954-1957 the Sunrisers became the most outstanding corps in the Long Island area, being seen in many parades and exhibitions, competing in all standstill competitions and winning all categories.

" Early in 1957, the sponsorship changed to Massapequa Elks Lodge No. 2162. Fred Rose, still manager of the Sunrisers, and Joseph Coppola Sr. of the Elks, had arranged the transfer.

" Enter Cal Myers, drum instructor and former Skyliner member; Howard Healy; Bob Hartman; Dick Vincemuth; and Henry Kunzweiler, from Hollis-Bellaire Drum Corps.

" In 1958, the corps found a new expression: M&M. Now it became a whole new ballgame. A new instructor was engaged to put the corps on the field - Jack Dobson from Orangeburg, NY, a retired Navy man and police officer.

" The management had signed us up in the Yankee Circuit and our first show was to be in New Rochelle. Competing against us were the Interstatesmen, Jolly Whalers, Carver Gay Blades, Westshoremen and Marksmen. That show was our 'baptism under fire!'

" The Marksmen won the show, Carver Gay Blades came in second, both were great! They became our incentive to work harder. Our score was 58.20 - last place! After retreat, all the corps came over to welcome us to the circuit. Consensus was, 'They're a nice corps. We like their little French berets.' " (Hodge, The Sunrisers Anthology, Vol. 1, p. 13-16.)

The story of the Sunrisers had always been the story of the music - what they played and how they played it. The aforementioned "French theme" encouraged exotic repertoire choices like Mademoiselle de Paree and Debussy's Clare de Lune. But whatever the music, understanding senior drum corps requires recognizing the sheer intensity of a truly passionate performance.

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