Louisiana State UniversityLSU Digital Commons March 2019 An Oral History of Marching Band Traditions at Historically Black Colleges and Universities Claire Milburn Louisiana State Univer
Introduction
Personal Vignette- “The game has not even started yet.”
On October 15, 2016, I am about to march into Veteran’s Memorial Stadium—the concrete behemoth—for my last Boombox Classic It is a warm, clear day, and fresh air fills my lungs as I stretch in my thick wool uniform The game today is the Super Bowl of the Southwestern Athletic Conference (SWAC), a climactic showdown that caps a season of hard-fought battles I stand ready, feeling the stadium’s energy tighten around me as I recall the journey that brought me to this moment.
Conference (SWAC), but not for the football teams—for the bands! The name itself
“Boom-box” is a tribute to the nicknames of each marching band (Jackson State
University’s “Sonic Boom of the South” and Southern University’s “Human Jukebox”)
As the smoky barbecue aroma wafts from the nearby parking lot, tailgaters survey the scene, soaking up the pregame energy of game day With more than an hour to kickoff, we, the Sonic Boom of the South, have arrived to ignite the tailgate with vibrant marching-band excitement and fan enthusiasm.
We arrived early to prevent a repeat of the 2014 incident when our biggest rival, the Human Jukebox of Southern University, set up in our stadium before we did Visiting bands often try to beat the Boom, aiming to take advantage of the away-band section that faces the ramp as the home band marches by Over the years, bands have tried to overpower our drum cadences and throw us off beat as we march in The air is thick with anticipation as the drum major blows the whistle, signaling our band to prepare to march in Members adjust gloves, spats, and plume-topped hats before falling into position With two quick whistles, we respond “J-S-U, hey,” moving in sync to attention It’s showtime.
Marching into the stadium, we drew cheers from fans as their phones recorded every moment of the performance We swayed to the Temptations’ “Get Ready,” a decades‑old tradition, while a signature tuba introduction announced Dowell Taylor’s arrangement of the song From my position in the middle of the band, the front‑line trombones punctuated the arena with bold chords, and the cramped space made my shoulder brush against thick bushes as I belt out high Cs during the outro.
Upon reaching the center of the horseshoe-shaped stadium, we tighten into a single-file formation as we begin the ascent up the ramp toward the stands, a moment thick with anticipation I don my “funk face” and drive my marching into high gear, strutting up the ramp in a disciplined, choreographed routine that mirrors the energy of the crowd and the event.
With a 'ramp kick' at every turn, I keep the rhythm as I climb At the ramp's summit, my steps slow into a half-time sway as I pass hundreds of Sonic Boom enthusiasts True to tradition, alumni celebrate by pelting us with blue and white pom-poms (see Appendix A: item 2) I hear my name called with every stride, but the noise and anticipation blur into one electrifying moment.
I can't risk a smile and spoil the illusion of the show Once the band has filed into their proper spots, I sit, take off my hat, and steel myself for the battle ahead The bleachers opposite are empty, and our section leader jokes that everyone was too scared to come early this year In keeping with Sonic Boom tradition, we warm up with a few marches—the brisk Barnum and Bailey’s Favorite, the infamous Them Basses, and Stars and Stripes Forever Finally, Southern University’s Human Jukebox marches into the stadium.
First, the dancers known as the “dancing dolls” enter in white, sequined two-piece leotards and white gloves, gracefully moving to the beat of the drums Then comes Southern’s drum line, the Funk Factory, followed by the rest of the band as they showcase the well-known Jaguar Rock marching style.
“S” on the chests of band members ignites fierce energy in the crowd on the Jackson side
As the band comes closer, our director Roderick Little brings our horns up It’s wartime
My hands shift, gripping my weapon of choice—mellophone—and preparing for battle
As the Human Jukebox ascends the ramp into the stands, Mr Little calls up Chaunte Moore’s "Who Do I Turn To," a bold choice since Southern’s band is renowned for its own arrangement of the tune The song selection is an outright challenge, signaling the first strike in this battle and declaring their intent to set the pace for the competition.
As the stadium erupts, the band delivers a punchy opening, with brass blasting beyond the horn’s practical range to forge a powerful, sublime symphony My section spent the week syncing our high D’s, letting them cut through the roar as we unleash them On both sides, Jackson State fans pump pom-poms to the beat while Southern’s supporters cheer their marching band, with the Sonic Boom’s overwhelming sound looming in the air When we finish “Who Do I Turn To,” Mr Little signals a switch to Drake’s “Summer Sixteen,” a cranking rap tune designed for pure brass wattage and minimal dynamic contrasts The Human Jukebox keeps chanting “aye-oh” as they file into the stands, trying to stay composed while we power through the track Our energy is undeniable as “Summer Sixteen” sweeps the crowd, and the arrangement features tuba and drum breaks that light up the field During the breaks, my section lifts our horns to provoke Southern’s mellophone section, with other brass units following suit amid dancing and head-nodding to the beat.
Finally, the Human Jukebox is set up and ready to answer our call, with director Nathan Haymer raising his hands to prompt a chorus of “ooohhh” that rolls through the stadium; as his hands clap and rise again, the band answers “ready” and “up,” and four chordal punches rip through the arena Haymer has called off Snoop Dogg’s “Those Girls,” a powerful though expected tune already in the Jukebox’s repertoire, and the battle is officially underway as a sea of 30,000 fans floods the stadium Musicians and non-musicians alike in the crowd offer impassioned critiques of song selection and execution, and from my position just right of center, I hear a drunk fan sing along to Southern’s tune while a high school student inspects the mouthpiece our section uses, likely aiming to emulate our sound.
On the field, we trade songs in a relentless back-and-forth, and I realize there is nothing like the sound produced by the Boom and the Jukebox; this pre-game tradition—the "zero quarter"—is all about power, and while many bands would tire, our six-hour daily fall rehearsals harden us into warriors under Mr Little's guidance; when Southern’s shimmering golden horns rise to answer, Little beats them to the punch with our staple tune "Big Ballin" before Southern can utter a note; during our tuba break I hear Southern starting their staple "IDGAF," so the director pulls the rest of the band in earlier than normal to keep us from being overpowered; the silver bell of my horn moves with my breath as electric energy surrounds us, and we push to drown out the band seventy yards away as they push back with equal intensity.
Southern cuts us off mid-sentence, and pride swells as our sound carries through the stadium on its own After the pause, the band pivots to a new track titled And Then What, a surprising throwback that slips into the setlist like a curveball The ensemble unloads a surge of sound—rich brass, soaring baritone lines, and trumpet shrieks that slice through the air and into the stands I scan the metal bleachers and see our drum majors whispering among themselves, leaning in toward the band director as they debate the next selection As I try to decipher what they’ve chosen, anticipation tightens the moment and the room seems to hold its breath for what comes next.
As we debut my arrangement of Rick Ross’s “Purple Lamborghini” for the marching band, heads turn, fellow musicians clap and fist-bump me, and director Kedric Taylor signals the final cue while Little calls a precise “one, two, ready, NOW!” The first Bb minor chord slices through the air, goosebumps racing up my arms, and the crowd leans in, curious to evaluate our new addition to the book During the tuba break, faces light up in approval; I ride the groove with my band family, feeding off the energy as our sound ignites the stadium for the final push.
Just as Mr Little cuts us off, Southern answers with Travis Scott’s Tourist, one of their hottest tracks this season But referees move to the center of the field, and an announcer over the loudspeaker asks both bands to pause their playing so the football game can begin Reluctantly, the crowd watches as the musical battle is paused and the two events switch gears Southern may have delivered the last tune, but the band showdown is far from over.
Review of Literature
This literature review traces marching band history in five chronological sections: the post-Civil War rise of bands, wartime ensembles, Florida A&M University (FAMU) and William P Foster, the public arena, and the era from the 1960s onward Much of the scholarship centers on William P Foster and his marching band program at FAMU, making his work a central focus of the literature Nonetheless, coverage remains limited and diverse, revealing gaps that warrant further study and more inclusive scholarship.
According to the Higher Education Act of 1965, Historically Black Colleges and Universities (HBCUs) are defined as institutions of higher learning established before 1964 whose principal mission at that time—and still today—was the higher education of Black Americans (McDonald, 2009, p 7) This definition situates HBCUs within the broader historical context of the Reconstruction period that began in 1863.
1877) is when many of these schools were founded Notably, a few universities (Cheney,
Before the Civil War, Lincoln University and Wilberforce University in the North were founded to educate freed Black men and women, laying an early foundation for Black higher education (Albritton, 2012) During Reconstruction, the Freedmen’s Bureau, missionaries, philanthropies, churches, and various government initiatives helped establish and expand Historically Black Colleges and Universities (HBCUs), broadening access to higher education for African Americans (Walker, 2014).
Post-Civil War Rise of Bands
Throughout American history, the end of war has often sparked a surge in instrumental musicians, as military bands release their instruments to civilian players In the Civil War era, Black regiments formed bands to aid recruitment, and this musical activity helped turn New Orleans into a hotbed of fine Black brass bands during Reconstruction As Lewis (2003) observes, rivalry among these bands was intense: one band could literally outplay another by playing louder, more brilliantly, or with sweeter tones, much to the crowds’ delight.
Many black musicians from New Orleans dispersed to various regions across the United States, carrying the budding brass-band traditions with them and sparking a shift in American marching-band practices that had been maturing since the Revolutionary War By the turn of the twentieth century, marching bands—primarily military in style—were already deeply embedded in American society (Lewis, 2003) McDonald states that during the late nineteenth century, these movements laid the groundwork for broader public engagement with marching music and the ongoing evolution of band culture in America.
“early college bands existed sporadically and a) were often associated with some military activity or b) operated as a social organization.” (McDonald, 2009, p 12)
World War I saw a boom for military musicians During the war, the 369 th Regiment, an all-black military band nicknamed the “Harlem Hellfighters,” was under the direction of
The band gained notoriety abroad, especially in France, for superb performances, and upon returning home they often toured with civilian bands and road shows that had become popular during the vaudeville and minstrel eras In the first quarter of the twentieth century, brass bands were widely loved, black military-trained musicians were available, and wars produced a surplus of cheap instruments, helping the marching band tradition flourish in African American communities Black universities soon recruited musicians from these popular groups; W C Handy joined the music faculty at Alabama A&M University and wrote music for his students that blended classical and minstrel elements to appeal to white audiences while preserving a distinct style Another important early twentieth-century program was at Florida A&M University (FAMU); scholars have recently published dissertations on its famous director William P Foster, highlighting a broader lack of academic writings on American wind band directors of color.
One major reason for this dearth is that many African-American music students living in the South could only pursue graduate study at institutions in the North, a situation that demanded travel and additional financial resources, as Walker (2014) notes.
Florida A&M University's jazz band began as its largest ensemble in its early years, nurturing legends such as Julian 'Cannonball' Adderley and Nat Adderley Leander Kirksey took over the program in 1930 and established one of the first scholarship programs for Black college bands, while forging partnerships with local Florida schools that lacked music programs This pioneering pipeline nurtured and hired FAMU band students, elevating music education for Black students in Florida beyond what many institutions offered at the time (Thomas, 2001).
World War II caused a dramatic drop in enrollment for college bands nationwide as large numbers of college-aged men were sent to war (Thomas, 2001) At Tennessee State University, band activities halted entirely However, some Black veterans who served in World War II were able to attend college with GI Bill funds, even though many eligible Black veterans were denied benefits by the government Those who did gain access credit the GI Bill with laying the groundwork for a Black middle class before the civil rights movement Overall, enrollment at historically Black colleges and universities (HBCUs) increased in the decades preceding the civil rights movement (McDonald, 2009).
In the decades following World War II, the HBCU-style marching band emerged as a distinct tradition, giving rise to the early band programs at Tennessee State University (TSU), Florida A&M University (FAMU), and Jackson State University (JSU) These programs were steered by legendary, long-tenured directors: Frank T Greer, who spent 21 years leading TSU; William P Foster, who built FAMU's program for 52 years; and William W Davis, who guided JSU for 23 years (McDonald, 2009; Walker).
2014) These figures took the time to nurture band identities For example, William W Davis served as the arranger for the Cab Calloway big band immediately preceding his tenure at JSU
He frequently arranged for his marching band, cultivating a distinct sound (Bandmaster
Chronology, n.d.) Frank T Greer also contributed to the development of a distinct HBCU band sound with his arrangements for TnSu’s band McDonald notes that:
Music was written for brass in the upper registers, paired with a bright harmonic structure that produces a brilliant sound; this concept appears to have evolved from Greer’s experiences playing and arranging for big-band jazz orchestras (McDonald).
William P Foster’s obituary opens by asserting that anyone who watched marching bands that weekend likely saw a technique Foster developed or inspired He formed a sixteen-member band in 1946, expanding to about one hundred by 1950, and at its peak the ensemble numbered more than 420 members (Kelderman, 2010) While the 100-member enrollment in 1950 gave the FAMU band its nickname “The Marching 100,” other bands, such as TnSU, were also called “The Marching 100” during this era A 100-member configuration became a standard, desirable setup (McDonald, 2009) In his 52 years at FAMU, Foster underwrote the cultivation of the distinct visual style of HBCU marching bands, shaping a legacy that defined the FAMU Marching Band and influenced the broader visual language of HBCU marching bands.
100 became known for animated drills, such as shooting a basketball through a hoop (Rowley,
2009) Some of these ideas were inherited from marching bands at predominantly white institutions, but Foster’s exceptionality is verified in the following quote:
Within the Big Ten, several marching bands adopted a high-stepping style, but Foster took the approach to the next level by lifting the steps and widening the arc at which the musicians carried their horns, according to Florida high school band director Mr Reid (Kelderman, 2010).
Foster contended that bands must carry educational and cultural values that matter to both players and audiences During Jim Crow America, mainstream society mocked Black culture through caricatured blackface performances, limiting meaningful representation Foster was not allowed to participate in the band program at his alma mater, the University of Kansas While he drew inspiration from groups like the University of Michigan, his innovations reshaped the craft to speak directly to his audience and remain relevant to them.
Foster is recognized as one of the first band directors to incorporate dance into halftime shows (Lewis, 2003) He said his first contributions to the Marching 100’s dance repository,
Early performances featured simple crossovers as band members moved their instruments by 30, 45, 90, or 180 degrees (Rowley, 2013, p 47) Over the ensuing decades, the repertoire expanded and began to reflect popular dance moves, a development noted by Jacqui Malone.
Method
Previously, I identified a void in the literature on HBCU marching band programs To address this gap, this study adopts an oral history approach (Leavy, ), with the goal of uncovering underrepresented voices and enriching our understanding of HBCU band culture, practices, and student experiences.
2011) Through interviews, I investigated the history of various HBCU marching band traditions
I interviewed band directors, primarily from Jackson State University (JSU) in Jackson, Mississippi, and Southern University (SU) in Baton Rouge, Louisiana Their responses illuminate historical events, and I chronicle these accounts alongside richly descriptive video footage and band performances wherever applicable To ensure accuracy, the stories are corroborated through triangulation whenever possible.
As a recent participant in an HBCU marching band, I apply Creswell’s concept of reflexivity to acknowledge how my relationship with the subject shapes this qualitative research (Creswell, 2013) I experienced MEAC and SWAC traditions firsthand through marching with Norfolk State University and Jackson State University, and I interviewed band directors I have long admired, creating a connection that deepens my understanding while raising potential biases toward my own programs or era My aim is to celebrate the monumental developments in HBCU band traditions, while not concealing blemishes Although I am a white female and thus a minority within HBCU bands, my interview participants are Black men, leaving me both an insider and an outsider in their milieu Given that mainstream scholarship on HBCU marching bands is limited and often negative, exemplified by Carter’s discussion of ostracization of gay band members and hazing (Carter, 2013), I anticipated that directors who did not know me might be wary of formal interviews I leveraged my HBCU alumni networks and reputation with other band directors to establish rapport and obtain fruitful interviews, and overall I did not find these differences to significantly impede the interview responses.
I took oral accounts of history through interviews, in keeping with the process McDonald
Methodologies from 2009, Rowley (2013), Lewis (2003), and Walker (2014) were employed in this qualitative study, with each participant completing a single semi-structured interview The interviews, guided by Berg’s (2001) framework, focused on core oral-history elements—personal experiences, memories of events, attitudes, beliefs and opinions, and perspectives (Leavy, 2011) To enhance data credibility through triangulation, some questions were repeated across participants (for example, asking about the first experience with the fifth quarter) In keeping with oral-history practice, each interview was unique (Leavy, 2011) Whenever possible, interviewees received a list of primary questions as a pre-interview guide at least one day before the interview to prompt memory recall that may have lain dormant over the years.
In this oral history study, initial research questions guided the work, but the literature showed that significant developments and stories often cannot be predicted, leading me to uncover many unanticipated narratives and trends In keeping with oral history methodologies, I allowed participants to steer the interviews more than in standard semi-structured formats (Leavy, 2011, p.9), a flexible approach that aligns with the emergent design of qualitative research (Creswell, 2013) As new themes and events emerged, my interview questions evolved throughout the study, culminating in a final list that reflects the emergent direction of the research and foregrounds the voices of participants.
Interviews were conducted in person whenever possible, but geographic constraints necessitated some telephone interviews According to Berg (2001), telephone interviews are limited because they lack face-to-face nonverbal cues (p 82) In this study, three participants completed required telephone interviews While video conferencing can provide facial cues, the familiarity and ease of telephone interviews made participants more comfortable, supporting more open responses Berg (2001) also notes that telephone interviews are sometimes the only viable method and argues that researchers can optimize them by conducting interviews with whom they have developed rapport during fieldwork (p 83).
Louisiana State University’s Institutional Review Board (IRB) reviewed the study proposal and exempted it from oversight because participants were not subjected to any significant risk Participants could stop the interview at any time and were informed of this at the beginning of the interview Interviews were recorded using a digital voice recorder, with Google Voice software used for phone interviews, and verbal consent to begin recording was obtained.
To establish credibility and maintain cohesiveness in the study, interview responses were not anonymous in the final paper At the outset of each interview, I informed participants that anything they said would not be anonymous and I recorded verbal consent to present their responses in the final document.
Interviews were conducted primarily with band directors from JSU and SU Band directors from JSU included Dowell Taylor, Paul Adams, Dr Lewis Liddell, and Lowell
Prominent band directors such as Hollinger have established reputations as innovators and custodians of a vast storehouse of knowledge about the Sonic Boom of the South At Southern University (SU), directors Paul Adams, Lawrence Jackson, Nathan Haymer, and Kedric Taylor are cited for similar contributions Paul Adams served as an assistant director at both universities and later directed at MEAC schools, most notably Norfolk State University, providing a broad perspective and valuable comparative notes I interviewed Dr Julian White, the retired director of bands at Florida A&M University, to offer a perspective from the most prominent HBCU band in academic literature Additionally, I spoke with Dr David Ware, author of notable works on band leadership.
Interviews with Sixteen Band Directors at Historically Black Colleges: Their Attitudes,
To explore the perspectives of HBCU band directors, I selected Ware (2008), who interviewed two pivotal figures, Liddell and White, along with other university directors referenced in this study Ware’s work offers a rare glimpse into the minds of HBCU band directors and how their leadership shapes program development An editorial in JRME (2010) calls for a sequel, signaling the ongoing need for empirical research in this field (Fonder, p 74) The article also includes a graphic illustrating the band-director lineage for each school, noting that it features only the directors I interviewed; two important staff members, Paul Adams and Lowell Hollinger, did not serve as Directors of Bands at these institutions but were essential members of the band staff.
Table 1.1- Participants from JSU and SU
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Rationale for JSU vs SU Rivalry
From an informal network of HBCU marching band enthusiasts, JSU and SU consistently emerge as the most praised programs Each band maintains a website with brief histories of the bands and their directors, suggesting that history plays an imperative role in the cultures of today’s ensembles Despite this visibility, neither program is referred to in academic literature in a substantial way, outside of Ware’s Interviews with Sixteen Band.
Directors at Historically Black Colleges: Their Attitudes, Opinions, and Methods (Ware, 2008)
Based on a review of the literature, analysis of video footage, and my own experience, this study centers on competition as a defining element of HBCU football rivalries, with informal data indicating the fiercest clashes occur in the SWAC (Southwestern Athletic Conference) The annual Southern University versus Jackson State University game, colloquially known as the Boombox Classic, honors the marching bands—Jackson State’s Sonic Boom of the South and Southern University’s Human Jukebox Although many HBCU football matches are labeled a classic, this is the only game named for the bands, underscoring their influence on the rivalry Accordingly, the focus is on these two programs and their directors.
Rationale for the Time Period
From the 1960s onward, the distinct style of college marching bands has evolved significantly, a shift documented by Patzig in his 1983 study of SEC programs The Southeastern Conference geographically overlaps with the nation’s largest cluster of Historically Black Colleges and Universities (HBCUs), and the changes observed over the past fifty years emerge most clearly through conversations with band directors and alumni who remain passionately attached to this tradition Accordingly, this study centers on the development of HBCU marching bands from the 1960s to the present, and highlights the valuable opportunity to interview living legendary directors while they are still active to capture their firsthand insights.
To triangulate the data in this qualitative study, I drew on three sources: multiple participant interviews, existing literature, and video evidence when available The final interview prompt—“If you were writing this paper, what would you really not want to be left out?”—was designed to elicit stories and insights not directly prompted by my questions This approach reflects epistemological oral history design, which “places the researcher and participant in a collaborative relationship” (Leavy, 2011, p 9) Data were analyzed by coding the interview transcripts and applying the constant comparative method to identify and compare themes and narratives across transcripts (Boeije, 2002) Within each emergent theme, content is organized chronologically to preserve traceable development of ideas.
Historical Frame
Personnel from JSU’s Sonic Boom of the South and SU’s Human Jukebox treasure the history of their programs, and this section offers a concise overview of each band’s history as told by the directors I interviewed, supported by a selection of accompanying sources.
“It Was Like a Human Jukebox”
Members of Southern University’s Human Jukebox marching band take great pride in their storied history To capture the program’s legacy, I spoke with Lawrence Jackson, the retired director of bands, who can succinctly summarize its evolution from an insider’s view Jackson brings deep insight from his years at Southern as a student musician—first as a section leader and arranger, then as an assistant band director, and eventually as the director of bands He begins by outlining the genealogy of the band’s conductors, tracing how leadership has shaped the ensemble over time.
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Jackson highlighted Southern University’s high-profile achievements, citing eight Super Bowl performances and noting that the Southern University marching band, the Human Jukebox, is the only band to perform four times at the Sugar Bowl without a competing football team He pointed out that the Human Jukebox has marched in three presidential inauguration parades and appeared in music videos with Michael Jackson and the Jonas Brothers In detailing the band’s illustrious history, Jackson also noted that the Human Jukebox had performed a halftime show at a New Orleans Saints game.
In Baton Rouge’s 49-year tradition, with 2017 as the only exception, a standout moment came in 2004 when a parade celebrated both LSU and Southern University, as LSU won the national championship and SU claimed the HBCU national championship The downtown celebration brought LSU coach Nick Saban and SU coach Pete Richardson onto the same platform, while LSU professor Wickes and SU doctor Greggs stood side by side Dr Greggs conducted both bands during the Star-Spangled Banner, marking a history-making moment that underscored unity between the two institutions.
1947-1969- T Leroy Davis and Ludwig Freeman
SU's first band ensemble was led by Ella Amacker-Patty, and the first marching band was led by J.O.B Mosely, laying the groundwork for the next era under T Leroy Davis, who is credited with introducing a pageantry drill concept to SU (About, n.d.) I interviewed Paul Adams, a retired band director who served both SU and Jackson State University (JSU), to gain his perspective on this segment of SU's musical history.
As a freshman in 1961, under the direction of Davis, he began arranging for the band during his time at SU Davis had been the band director at the SU lab school before his tenure at SU and taught his successor Ludwig Freeman, who became director of bands in 1964 Adams commented on the Freeman era.
We played lots of marches, and we had dance routines We marched fast quite like the
We had some great shows, I thought They were well organized and thematically- referenced
Adams remarked that the band played many Broadway tunes under Freeman He added,
“Freeman was a very progressive director, and he did play some popular style music, but he really wasn’t into R&B.” Songs on the playlist included “St Louis Blues,” “Mint Julip,” and
Adams described the selections for Walk on the Wild Side as jazz-oriented pop music—what today would be called fusion—and noted that under Freeman the band took on a beautiful quality He graduated in the summer of 1965 and was immediately hired by Syracuse University as chief arranger and low-brass instructor, a rare honor that testified to his superb musicianship He also served as Jackson’s applied tuba instructor when Jackson joined SU in 1965 In 1966, Adams was drafted into the Army during the Vietnam War, yet he continued to arrange for Syracuse University from his post in New Orleans.
Adams says, "the band staff wanted me there in tune and in touch with the popular music." He explains arranging a version of "Red Sails in the Sunset" for the band, a tune Bobby Powell—a popular local musician—had redone The performance featuring Powell "tore the house up." Yet despite the show's popularity, most of the Human Jukebox's repertoire at the time was not popular music.
In 1969, Dr Isaac Greggs was hired to direct the band program at the SU lab school, a move Adams later described as a strategic step intended to position him to become SU's director of bands Greggs was friends with Dr Hill Perkins, the chair of SU's music department, and over the summer Freeman had an obvious disagreement with Perkins, a clash that may have been part of the plan, ultimately leading Freeman to leave to pursue his doctorate at the University of Pittsburgh.
In 1969, Adams was out of the military and touring as a trombone player with Bobby Blue Bland on the far side of the country He was unhappy with the drug- and alcohol-saturated atmosphere he encountered as a road musician, and he spoke about how that environment affected him.
From an alcohol-related perspective, I saw where that path was headed and chose to withdraw I left and returned to Louisiana to take a job at Southern When I arrived back, Isaac Greggs was the director of bands, and although I wasn’t really excited about it, I knew I wanted to stay close to my family.
Adams faced a tough choice between hitting the road again, teaching high school, or trying to win back his job at SU He believed the Right to Work law favored him, arguing that SU would have to rehire him, even if only for a day, before terminating him again When he arrived on campus to pursue reinstatement, Greggs was on the phone with a candidate he was about to hire as the chief arranger, and the prospect of bringing Adams on board instantly unsettled his decision Adams recalls Greggs telling the other person, “I’ll call you back,” then jumping up on the desk and dancing in front of him and his wife, a moment that pushed him to return to Southern.
Greggs had a much more boisterous personality than Freeman, but the band’s music selections remained similar at the beginning of his tenure Adams narrated the game that changed that
During the Alcorn State University game, when Alcorn took the field, the band fired up It’s Your Thing, the Isley Brothers’ iconic tune, and the crowd went wild The memory also recalls Isaac producing a show that included Hey Look Me Over, a song that LSU would go on to use as a fight song for many years, cementing its place in college athletics culture.
At Southern, the audience didn’t grasp the tune’s significance, largely because they associated it with LSU, even though we weren’t trying to be LSU, we were trying to be Southern As a result, the band was booed The next move featured a girls’ dance routine, followed by a tune they hummed that drew more boos from the crowd I can’t recall exactly what the band danced to, but it wasn’t good It was the first time in the history of the Southern University band that they walked back to the band room in embarrassment When Isaac returned to the room, he was suddenly determined and upset, declaring, “We’re going to do something different.”
Staff members curated an engaging pre-game show featuring upbeat, popular music to thrill the crowd ahead of the upcoming game against Tennessee State University (TnSU) A standout moment was SU’s first attempt at the famed circle drill, a signature part of the routine, with a portion of the drill shown in the image below.