A pioneer in pro sports entertainment, Washington’s marching band made its debut during the Burgundy & Gold’s first season in D.C. nearly 90 years ago. Since then, it has established fan favorite traditions and become a cherished gameday presence. Get Your Commanders Tickets Here: https://bit.ly/3SpwKU3
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
This is Ralph of the Russian Rescuins introducing Hail to
the Reskins.
Speaker 2 (00:27):
Ever since Franklin D. Roosevelt was president, Washington's Marching Band
has punctuated thousands of points with that favorite tune. If
you've been to a home game at Griffith Stadium, RFK,
or Northwest Stadium, you've probably seen or heard the ensemble.
(00:48):
They're decked out in team colors, be it the frigid
cold or the raging heat, playing their hearts out. As
the oldest marching band in the league, the group even
has collection items in the Pro Football Hall of Fame.
The evolution of Washington's Marching Band and what they've added
(01:08):
to game days for nearly ninety years is part in
the pun major This is Hail Tales stories from Washington
football history the Marching ban. When he was young, Washington's
(01:36):
very first owner, George Preston Marshall, had grandiose dreams of
being an actor. Those ambitions were derailed when he was
drafted in World War One, but his love for drama
and entertainment never went anywhere. Dan Alpert, a member of
Washington's Marching Band for twenty two years and the band's
(02:00):
archivist explains.
Speaker 3 (02:01):
George Preston Marshall was an incredible showman from one Iver's Dead.
He was married to a silent movie star, Kareeine Griffith,
and he got in his head as soon as he
had the Redskins here in DC that he wanted to
really put on a show. Obviously, he want to attract
fans and all that sort of thing, but he mostly
wanted to have a incredible game day experience as much
(02:23):
as possible for the people that would attend the games. Now,
as I understand it, of course I wasn't there, but
as I understand it, he basically also wanted to attract
women to the games. It was very much a male
dominated attendance, I guess back then, so he was trying
to add elements that might be attractive to women that
(02:44):
would then bring their husbands to the games and all
that sort of thing. So I guess he, in conjunction
with his wife, decided to put on a spectacular halftime
show every week.
Speaker 2 (02:55):
These halftime shows included circus animals, ballet fast movie reviews.
It was Marshall's passion for a halftime spectacle that eventually
led to the establishment of the marching Band. The seeds
were planted in nineteen thirty seven, the same year that
(03:16):
the team moved from Boston to Washington, DC. Knowing Marshall
and Griffith loved a good show and being made up
of many fans, the Chestnut Farms Dairy Band wrote asking
to perform at a couple games. They did, and so
did some other local bands. That season, Marshall combined the
(03:37):
Chestnut Farms Dairy Band along with one of those others
to form the official one hundred and fifty person Washington
Marching Band.
Speaker 3 (03:52):
I think at that time Marshall was trying to was
still experimenting, I think more than anything else as far
as what would work or a halftime show, so that idea,
because marching bands were already popular starting let's say in
the yearly nineteen hundreds, as far as college bands and
that sort of thing, he was trying to, I think,
incorporate a certain element that was similar to what was
(04:15):
going out of college games to the Crow games, because
at that time there were no Crow teams that had
marching bands whatsoever. So he was experimenting. He was trying
to be an innovator. He was trying to be at
the forefront of trying to attract different sorts of people
to the games that might be interested in even if
they were terribly interested in football, they'd be maybe excited
(04:36):
about the halftime shows.
Speaker 2 (04:38):
Washington's band got off to a hot start, so proud
of and invested in this unprecedented ban project. Marshall apparently
was involved in the writing and choreographing of each and
every halftime show. And not only did the Marching Band
perform during home stands in those early years, they also
(04:58):
went on the road from time the time.
Speaker 3 (05:01):
As I understand it, basically when training well, they went
to major just more or less local cities like they
would go to Pittsburgh, Cleveland, New York, and Brooklyn for
away games. In the early years, they used to always
go to the New York games. The first four or
five years, they take the train out to New York.
They'd play the Giants, and in fact they perform on Broadway.
(05:26):
Every year they did a parade down Broadway after either
before or after the game, I'm not certain which. So
that was again I think part of the showmanship. As
far as George Preston Marshall trying to draw attention to
the team in general and the band you know somewhat
as a nad junk as far as an advertising medium
for the for the team.
Speaker 2 (05:45):
There's a great story from that nineteen thirty seven season
when the band traveled home after the team beat the
Giants in New York. After getting back to DC at
eleven pm, the band and fans started victory marching down
Pennsylvania Avenue. They were stop by the police because they
(06:05):
didn't have a permit. Marshall tried to argue, it didn't work,
so he had the band secretly meet him a couple
blocks down the road to keep the victory march rolling.
Pretty much right after they started playing. The police, of
course came to stop it, and since they couldn't arrest
the entire band, the cops decided to arrest the band cheap.
(06:30):
The Marshals put up his twenty five dollars bail and
got him out later by hook or by crook. The
early years were all about establishing the presence of the band,
and as any a marching band knows, if you want
to be legit, you gotta have a fight song. Interestingly enough,
during one of the first rehearsals, the band's musicians suggested
(06:52):
that a very popular song back then called Onward Christian Soldiers,
the Washington's Fight Song. The Marshalls, though, wanted a number
the band could call its own.
Speaker 1 (07:11):
I'm David Briskin, the son of Barney Breskin. My father
was the composer of Hail to the Redskins.
Speaker 2 (07:21):
Barney Breskin was the band leader at the time.
Speaker 1 (07:24):
Actually, he called Coreene Griffiths on the phone and played
the song for her. And this was my dad's personal
story that she liked the song, but he wasn't crazy
about it. She really talked to her husband into it.
He was not for having a song. He wasn't really
(07:49):
interested in it, and she had him listen to it
on the phone. She i think talked him into it.
Part of the credit of the lyrics goes to her.
Speaker 2 (08:05):
The fight song was copyrighted on August seventeenth, nineteen thirty eight,
Barney Breiskin's twenty eighth birthday, and the band started playing
it at games from then on.
Speaker 3 (08:22):
Now.
Speaker 2 (08:22):
Who exactly made up the marching band obviously talented musicians,
but these were folks from all different vocations, ranging from
painters and mechanics to lawyers and shoe salesmen. Band members,
at least in those beginning years, could be rather young.
In one article I got from Dan Albert, band member
(08:44):
Bobby Bunkie Gretton remembers the thrill of his first time
performing with the band when he was only fourteen years old.
Other characteristics of the band really reflected the American society
in which they were operating in at the time.
Speaker 3 (09:00):
Age In particular, we're considered to be a province of
a guys club kind of thing, I think in many respects,
so I don't think it was until probably now there
were already women in the band while I was there
in the nineteen eighties, but I don't think there were many.
Speaker 2 (09:15):
Cindy Keyes, who was a member of the band in
the eighties with Albert, recalls in an article that there
were only six female members when she joined in nineteen
eighty two, Keys holds the distinction of being the first
woman to conduct Washington's marching band.
Speaker 3 (09:34):
In one article I read, also as far as racial inclusion, now,
it was an all white band I think at the
very beginning, and apparently again as far as how times changed,
Washington was criticized as being one of the very last
teams in the NFL to hire black players, and I
think so there is a certain element of people being
(09:57):
upset with the Redskins organization for not having minorities. So,
as I read an article in the nineteen, let's say
fifties or so, our band director specifically tried to recruit
African American players into the band, would write to all
the different high schools trying to encourage people to try out,
(10:17):
and we'd get nothing. We'd get absolute silence whatsoever. Now,
I'm assuming then that when the team became more integrated,
the band also became more integrated. So it was you know,
i'd say, you know, a good thirty forty fifty percent
as far as integrations, I would say, as times changed
(10:39):
over from the time when the band was first formed
in the nineteen thirties, some time I joined, for example,
in the early nineteen eighties.
Speaker 2 (10:51):
The band blossomed throughout the mid century period and into
those glorious years under Joe Gibbs. Dozens of people helped
behind the scenes with uniforms, musical arrangements, instrument transport, and
so much more. The band gained a reputation as being
a very serious and dedicated operation. Members would travel as
(11:12):
far as two hours away to get to rehearsals. Highly
coveted spots opened up infrequently, and news of auditions spread
mostly by word of mouth. At one point, there was
even a practice squad of twenty five musicians who were
waiting for their chance to break into the active roster.
You might say, game after game, this well oiled, energetic
(11:36):
ensemble contributed with their own skills to Washington's home field advantage.
In an article about the band in the sixties, Gretton
recalls how the group sat on the fifty yard line
behind the visiting team, quote just for irritation.
Speaker 3 (11:57):
I'd like the thing that we adoied the other a
little bit in such a way that we could be
given a little bit of advantage.
Speaker 2 (12:04):
Trumpet line chief Jay Wells remembers in the seventies how
the band playing the fight song became a cue for
fans to begin the infamous rocking of the stands at
RFK Stadium. And then there was Dallas Week. On the
night before the big game, the band was known to
(12:25):
march and play down the streets of Georgetown. Nightclubs would
actually invite them in to play. Dallas Week was the concert.
Georgetown was our stage and we were firing up the
fans for the big game. Saxophone players stuff on Monica said.
(12:46):
Washington's Marching Band has gone through changes over the years,
but so many of the elements that have made it
special for almost nine decades remain. Members come from all
different backgrounds, As the band's current musical director, Jeffrey Doakin notes.
Speaker 4 (13:04):
I think that through line of the amateurism coming from
the early days, it still holds true today that the
people are there because they want to be there. It's
not like every game we're going out and bringing in ringers.
You have to go through an audition process, a pretty
strict audition process, and you know, with the marching and
with the playing, there's a ton of music to learn.
(13:24):
Game days are extremely long. Now. It's super fun, but
it is hard. It's arduous, right, And so if you
didn't really want to be there, if you didn't really
love being in Marching Band and love the Commander's franchise,
you would not be there. And so I love that
that we can trace that back to the sheet metal
workers and the plumbers and all that. I don't know,
I imagine we probably still have plumbers in the band today.
Speaker 2 (13:46):
Being in the Marching Band continues to be a really
significant space and community for many musicians. As band trumpeter
Benita Gladney explains, when you don't.
Speaker 5 (13:57):
Have to play your instrument, you kind of miss it.
It's like probably liked sports people, that's why they go
and running gyms.
Speaker 2 (14:03):
Now.
Speaker 5 (14:03):
You know they used to play basketball in high school
and maybe they didn't make the college football team or
basketball team, so they find themselves in gyms and they
run every weekend or they run up every evening, and
so you end up missing it because you put you
put so much time into your craft, whether it's sports
or whether it's music. It was so much time in
(14:24):
and then it gets to a point like I miss it.
I miss doing it. And so when I went to
a football game and I heard the band, I'm like,
that's a live band, because I didn't know they actually
had a marching band. And so when the opportunity came
around to audition, so I auditioned and I told the
band directors in my audition, I said, I just want
(14:45):
to play music again. I just want to play music
that's fun.
Speaker 2 (14:48):
Fans still love and look forward to their music, as
longtime band member Luis Perez will tell you.
Speaker 1 (14:54):
From the moment anybody sees us all nowadays, all the
phones a getting went douts because they want to get
a video and just just take pictures with us. If
we stop it anywhere where we're moving around and.
Speaker 2 (15:05):
We just have trying to stop, people will imminiately jump
in front of us and kind of turn around to
get Sylvie.
Speaker 1 (15:10):
It just it just creates a little bit more buzz.
Speaker 2 (15:12):
I think the energy the Marching Band brings keeps on
making Washington game days one of a kind.
Speaker 4 (15:27):
Sports are one of these great things that for a
couple hours every weekend, people forget about what else is
going on in their lives. Right and if we can
be some small part of that, I mean, that's an
amazing opportunity for us. And I want people to know
that the game day experience doesn't start at kickoff. It
(15:49):
starts way before that, with us doing our parade, us
doing our legends, plausa set. So having this conversation right now,
it's important to let people know, like, come on out,
bring your families, spend the day enjoying everything, get the food,
hear the music, and then also watch them football because
football on TV. We're watching football football in the stadium
(16:10):
is an experience.
Speaker 2 (16:17):
This episode of Haletales was narrative, produced and researched by
me Hannah Liechtenstein, senior copywriter for the Washington Commanders. It
was produced and edited by Jason Johnson. Executive producers are
Ryan Yoakum and Kevin Klein. Graphics designed by Zach Osborne
and Matt Cashman. Special thank you to Dan Albert for
(16:37):
the historical materials referenced in this show, and thank you
for listening. Voting is now open for the twenty twenty
five People's Choice Podcast Awards. Vote now for Hailtales for
best Historical Podcasts. Go to Podcast Awards dot com
This is Ralph of the Russian Rescuins introducing Hail to
the Reskins.
Speaker 2 (00:27):
Ever since Franklin D. Roosevelt was president, Washington's Marching Band
has punctuated thousands of points with that favorite tune. If
you've been to a home game at Griffith Stadium, RFK,
or Northwest Stadium, you've probably seen or heard the ensemble.
(00:48):
They're decked out in team colors, be it the frigid
cold or the raging heat, playing their hearts out. As
the oldest marching band in the league, the group even
has collection items in the Pro Football Hall of Fame.
The evolution of Washington's Marching Band and what they've added
(01:08):
to game days for nearly ninety years is part in
the pun major This is Hail Tales stories from Washington
football history the Marching ban. When he was young, Washington's
(01:36):
very first owner, George Preston Marshall, had grandiose dreams of
being an actor. Those ambitions were derailed when he was
drafted in World War One, but his love for drama
and entertainment never went anywhere. Dan Alpert, a member of
Washington's Marching Band for twenty two years and the band's
(02:00):
archivist explains.
Speaker 3 (02:01):
George Preston Marshall was an incredible showman from one Iver's Dead.
He was married to a silent movie star, Kareeine Griffith,
and he got in his head as soon as he
had the Redskins here in DC that he wanted to
really put on a show. Obviously, he want to attract
fans and all that sort of thing, but he mostly
wanted to have a incredible game day experience as much
(02:23):
as possible for the people that would attend the games. Now,
as I understand it, of course I wasn't there, but
as I understand it, he basically also wanted to attract
women to the games. It was very much a male
dominated attendance, I guess back then, so he was trying
to add elements that might be attractive to women that
(02:44):
would then bring their husbands to the games and all
that sort of thing. So I guess he, in conjunction
with his wife, decided to put on a spectacular halftime
show every week.
Speaker 2 (02:55):
These halftime shows included circus animals, ballet fast movie reviews.
It was Marshall's passion for a halftime spectacle that eventually
led to the establishment of the marching Band. The seeds
were planted in nineteen thirty seven, the same year that
(03:16):
the team moved from Boston to Washington, DC. Knowing Marshall
and Griffith loved a good show and being made up
of many fans, the Chestnut Farms Dairy Band wrote asking
to perform at a couple games. They did, and so
did some other local bands. That season, Marshall combined the
(03:37):
Chestnut Farms Dairy Band along with one of those others
to form the official one hundred and fifty person Washington
Marching Band.
Speaker 3 (03:52):
I think at that time Marshall was trying to was
still experimenting, I think more than anything else as far
as what would work or a halftime show, so that idea,
because marching bands were already popular starting let's say in
the yearly nineteen hundreds, as far as college bands and
that sort of thing, he was trying to, I think,
incorporate a certain element that was similar to what was
(04:15):
going out of college games to the Crow games, because
at that time there were no Crow teams that had
marching bands whatsoever. So he was experimenting. He was trying
to be an innovator. He was trying to be at
the forefront of trying to attract different sorts of people
to the games that might be interested in even if
they were terribly interested in football, they'd be maybe excited
(04:36):
about the halftime shows.
Speaker 2 (04:38):
Washington's band got off to a hot start, so proud
of and invested in this unprecedented ban project. Marshall apparently
was involved in the writing and choreographing of each and
every halftime show. And not only did the Marching Band
perform during home stands in those early years, they also
(04:58):
went on the road from time the time.
Speaker 3 (05:01):
As I understand it, basically when training well, they went
to major just more or less local cities like they
would go to Pittsburgh, Cleveland, New York, and Brooklyn for
away games. In the early years, they used to always
go to the New York games. The first four or
five years, they take the train out to New York.
They'd play the Giants, and in fact they perform on Broadway.
(05:26):
Every year they did a parade down Broadway after either
before or after the game, I'm not certain which. So
that was again I think part of the showmanship. As
far as George Preston Marshall trying to draw attention to
the team in general and the band you know somewhat
as a nad junk as far as an advertising medium
for the for the team.
Speaker 2 (05:45):
There's a great story from that nineteen thirty seven season
when the band traveled home after the team beat the
Giants in New York. After getting back to DC at
eleven pm, the band and fans started victory marching down
Pennsylvania Avenue. They were stop by the police because they
(06:05):
didn't have a permit. Marshall tried to argue, it didn't work,
so he had the band secretly meet him a couple
blocks down the road to keep the victory march rolling.
Pretty much right after they started playing. The police, of
course came to stop it, and since they couldn't arrest
the entire band, the cops decided to arrest the band cheap.
(06:30):
The Marshals put up his twenty five dollars bail and
got him out later by hook or by crook. The
early years were all about establishing the presence of the band,
and as any a marching band knows, if you want
to be legit, you gotta have a fight song. Interestingly enough,
during one of the first rehearsals, the band's musicians suggested
(06:52):
that a very popular song back then called Onward Christian Soldiers,
the Washington's Fight Song. The Marshalls, though, wanted a number
the band could call its own.
Speaker 1 (07:11):
I'm David Briskin, the son of Barney Breskin. My father
was the composer of Hail to the Redskins.
Speaker 2 (07:21):
Barney Breskin was the band leader at the time.
Speaker 1 (07:24):
Actually, he called Coreene Griffiths on the phone and played
the song for her. And this was my dad's personal
story that she liked the song, but he wasn't crazy
about it. She really talked to her husband into it.
He was not for having a song. He wasn't really
(07:49):
interested in it, and she had him listen to it
on the phone. She i think talked him into it.
Part of the credit of the lyrics goes to her.
Speaker 2 (08:05):
The fight song was copyrighted on August seventeenth, nineteen thirty eight,
Barney Breiskin's twenty eighth birthday, and the band started playing
it at games from then on.
Speaker 3 (08:22):
Now.
Speaker 2 (08:22):
Who exactly made up the marching band obviously talented musicians,
but these were folks from all different vocations, ranging from
painters and mechanics to lawyers and shoe salesmen. Band members,
at least in those beginning years, could be rather young.
In one article I got from Dan Albert, band member
(08:44):
Bobby Bunkie Gretton remembers the thrill of his first time
performing with the band when he was only fourteen years old.
Other characteristics of the band really reflected the American society
in which they were operating in at the time.
Speaker 3 (09:00):
Age In particular, we're considered to be a province of
a guys club kind of thing, I think in many respects,
so I don't think it was until probably now there
were already women in the band while I was there
in the nineteen eighties, but I don't think there were many.
Speaker 2 (09:15):
Cindy Keyes, who was a member of the band in
the eighties with Albert, recalls in an article that there
were only six female members when she joined in nineteen
eighty two, Keys holds the distinction of being the first
woman to conduct Washington's marching band.
Speaker 3 (09:34):
In one article I read, also as far as racial inclusion, now,
it was an all white band I think at the
very beginning, and apparently again as far as how times changed,
Washington was criticized as being one of the very last
teams in the NFL to hire black players, and I
think so there is a certain element of people being
(09:57):
upset with the Redskins organization for not having minorities. So,
as I read an article in the nineteen, let's say
fifties or so, our band director specifically tried to recruit
African American players into the band, would write to all
the different high schools trying to encourage people to try out,
(10:17):
and we'd get nothing. We'd get absolute silence whatsoever. Now,
I'm assuming then that when the team became more integrated,
the band also became more integrated. So it was you know,
i'd say, you know, a good thirty forty fifty percent
as far as integrations, I would say, as times changed
(10:39):
over from the time when the band was first formed
in the nineteen thirties, some time I joined, for example,
in the early nineteen eighties.
Speaker 2 (10:51):
The band blossomed throughout the mid century period and into
those glorious years under Joe Gibbs. Dozens of people helped
behind the scenes with uniforms, musical arrangements, instrument transport, and
so much more. The band gained a reputation as being
a very serious and dedicated operation. Members would travel as
(11:12):
far as two hours away to get to rehearsals. Highly
coveted spots opened up infrequently, and news of auditions spread
mostly by word of mouth. At one point, there was
even a practice squad of twenty five musicians who were
waiting for their chance to break into the active roster.
You might say, game after game, this well oiled, energetic
(11:36):
ensemble contributed with their own skills to Washington's home field advantage.
In an article about the band in the sixties, Gretton
recalls how the group sat on the fifty yard line
behind the visiting team, quote just for irritation.
Speaker 3 (11:57):
I'd like the thing that we adoied the other a
little bit in such a way that we could be
given a little bit of advantage.
Speaker 2 (12:04):
Trumpet line chief Jay Wells remembers in the seventies how
the band playing the fight song became a cue for
fans to begin the infamous rocking of the stands at
RFK Stadium. And then there was Dallas Week. On the
night before the big game, the band was known to
(12:25):
march and play down the streets of Georgetown. Nightclubs would
actually invite them in to play. Dallas Week was the concert.
Georgetown was our stage and we were firing up the
fans for the big game. Saxophone players stuff on Monica said.
(12:46):
Washington's Marching Band has gone through changes over the years,
but so many of the elements that have made it
special for almost nine decades remain. Members come from all
different backgrounds, As the band's current musical director, Jeffrey Doakin notes.
Speaker 4 (13:04):
I think that through line of the amateurism coming from
the early days, it still holds true today that the
people are there because they want to be there. It's
not like every game we're going out and bringing in ringers.
You have to go through an audition process, a pretty
strict audition process, and you know, with the marching and
with the playing, there's a ton of music to learn.
(13:24):
Game days are extremely long. Now. It's super fun, but
it is hard. It's arduous, right, And so if you
didn't really want to be there, if you didn't really
love being in Marching Band and love the Commander's franchise,
you would not be there. And so I love that
that we can trace that back to the sheet metal
workers and the plumbers and all that. I don't know,
I imagine we probably still have plumbers in the band today.
Speaker 2 (13:46):
Being in the Marching Band continues to be a really
significant space and community for many musicians. As band trumpeter
Benita Gladney explains, when you don't.
Speaker 5 (13:57):
Have to play your instrument, you kind of miss it.
It's like probably liked sports people, that's why they go
and running gyms.
Speaker 2 (14:03):
Now.
Speaker 5 (14:03):
You know they used to play basketball in high school
and maybe they didn't make the college football team or
basketball team, so they find themselves in gyms and they
run every weekend or they run up every evening, and
so you end up missing it because you put you
put so much time into your craft, whether it's sports
or whether it's music. It was so much time in
(14:24):
and then it gets to a point like I miss it.
I miss doing it. And so when I went to
a football game and I heard the band, I'm like,
that's a live band, because I didn't know they actually
had a marching band. And so when the opportunity came
around to audition, so I auditioned and I told the
band directors in my audition, I said, I just want
(14:45):
to play music again. I just want to play music
that's fun.
Speaker 2 (14:48):
Fans still love and look forward to their music, as
longtime band member Luis Perez will tell you.
Speaker 1 (14:54):
From the moment anybody sees us all nowadays, all the
phones a getting went douts because they want to get
a video and just just take pictures with us. If
we stop it anywhere where we're moving around and.
Speaker 2 (15:05):
We just have trying to stop, people will imminiately jump
in front of us and kind of turn around to
get Sylvie.
Speaker 1 (15:10):
It just it just creates a little bit more buzz.
Speaker 2 (15:12):
I think the energy the Marching Band brings keeps on
making Washington game days one of a kind.
Speaker 4 (15:27):
Sports are one of these great things that for a
couple hours every weekend, people forget about what else is
going on in their lives. Right and if we can
be some small part of that, I mean, that's an
amazing opportunity for us. And I want people to know
that the game day experience doesn't start at kickoff. It
(15:49):
starts way before that, with us doing our parade, us
doing our legends, plausa set. So having this conversation right now,
it's important to let people know, like, come on out,
bring your families, spend the day enjoying everything, get the food,
hear the music, and then also watch them football because
football on TV. We're watching football football in the stadium
(16:10):
is an experience.
Speaker 2 (16:17):
This episode of Haletales was narrative, produced and researched by
me Hannah Liechtenstein, senior copywriter for the Washington Commanders. It
was produced and edited by Jason Johnson. Executive producers are
Ryan Yoakum and Kevin Klein. Graphics designed by Zach Osborne
and Matt Cashman. Special thank you to Dan Albert for
(16:37):
the historical materials referenced in this show, and thank you
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