Halftime is game time: An oral history of ‘Drumline’
Nick Cannon, Zoe Saldana, Dallas Austin and more on the film’s legacy and its fictional — but real — HBCU marching band
Editor’s note: This story contains explicit language.
Drumline is inspired by the life of Grammy-winning super-producer Dallas Austin, who created massive hits with Boyz II Men, TLC, Madonna and more. Austin’s life in music began during his days on his high school band’s drumline, and the 2002 film is the coming-of-age story of an 18-year-old hotshot New York drummer who’s recruited to join the marching band of the fictional historically black Atlanta A&T University.
Nick Cannon stars as Devon Miles, who arrives on campus and quickly outshines senior drum section leader Sean Taylor (Leonard Roberts) and forces band director Dr. Lee (Orlando Jones) to reconsider his approach to musicianship. In the process, Devon wins the heart of upperclassman dancer Laila, portrayed by then up-and-comer Zoe Saldana (Avatar, Guardians of the Galaxy). But when Devon’s ego gets the better of him, he’s kicked out of the band and forced to fight his way back onto the drumline, while learning the value of teamwork.
The film was the sophomore effort of Charles Stone III’s film career. He made a name for himself with the iconic (and CLIO Hall of Fame) “Whassup” Budweiser ad campaign, and his directorial debut was 2002’s dark and authoritative ’hood saga Paid In Full. Drumline, which was shot mainly at Clark Atlanta University, raked in a total of $57 million at the box office.
The idea of marching bands consisting of “uncool” kids was laid to rest with the premiere of Fox 2000’s Drumline. The beloved film successfully makes the case that marching bands, especially those found at historically black colleges and universities (HBCUs) in the South, are melting pots of artistic athleticism. Drumline showed the world that band members not only train like the pros but also compete like champions.
Everyone quoted is identified by the titles they held during the Drumline era.
First Quarter: Drummer Boys
Before he produced Boyz II Men’s nine-times platinum 1991 Cooleyhighharmony at the age of 19, or won his first Grammy for producing TLC’s then futuristic 1999 FanMail, or worked with Madonna, The Brand New Heavies, DJ Jazzy Jeff & The Fresh Prince, Fishbone, Monica, Michael Jackson and even Deion Sanders, Dallas Austin played snare drum in his high school marching band. The Atlanta (by way of Columbus, Georgia) producer joined the drumline at Columbus High School when his older brother, Claude, a section leader, graduated. With talent far beyond his freshman classification, Austin experienced pushback from the new section leader, who attempted to haze him and expose him to the band director for not being able to read music. Austin’s high school experience is the story of Drumline, a film he pitched at 20th Century Fox in the early 1990s. “Fox said, ‘What’s so interesting about marching bands?’” recalled Austin, who gave studio executives a peek at footage from a high school battle of the bands at the Georgia Dome. His project was greenlit, and a script, by Shawn Schepps, was drafted.
The movie went into turnaround hell for eight to 10 years.
One day, Dallas and I are having a conversation. I asked, ‘What happened with Drumline?’ He said, ‘It just didn’t go anywhere. … I haven’t heard anything.’
The movie was just sitting … but I felt like the story needed to be told. … I called Quincy Jones one day, and I was like, ‘Man, what do I do?’ He wasn’t trying to be funny or nothing, but he said, ‘You ain’t gonna make it in that industry unless you got somebody who’s Jewish on your side.’
They came to me and said, ‘What do we do?’
Wendy, Dallas and I went to Elizabeth Gabler, who was the head of Fox 2000. Dallas pitched her.
I actually wanted to talk Fox out of the movie — I wanted to get it back.
He told us these stories about how ‘halftime was game time’ in the South, and it was not about the football game as much as it was about the marching band. And about how many of his peers in the music business started their careers on drumlines.
She goes, ‘Well, damn, we’ve got to make this movie.’
Elizabeth only wanted to add one thing: ‘Can we make it in college as opposed to high school?’
So we basically started from scratch.
I still have not read the first draft of Drumline … but what was originally pitched felt like a suburban band movie, where a black kid comes to a white, uptight school and brings the funk to the school. … The only thing I knew was that the main character couldn’t read. He was illiterate. I thought, ‘No way could I rewrite this.’
I didn’t like the racial implications, or what I perceived to be the potential racial implications, of doing that kind of story.
The first script was too comedic.
I spoke with the band director at Florida A&M [Dr. Julian E. White]. He started mentioning so much about the practices and the culture and just the fabric of what it means to become a band member at an HBCU. He kept saying, ‘You have to see it.’ I went to … hot, muggy Southern Florida. The whole town was just vibrating from the football field at night. They’d practice late nights when the sun went down, and early mornings, because of the heat. And there were always alumni around the field … and they’ve got snakes around their neck; their school mascot is a rattlesnake. I underestimated the richness of the world inside of the band. I thought, ‘Oh, my God, this is going to be something … ’
I’d passed on the first script, and then six months later or so, it came back with a historically black college, and that was more interesting. The new script allowed me the opportunity to explore percussion … and a style of marching band — the show style — that was much more alluring, more magnetic. Then, learning more about what these kids go through, it was just like a sport, you know? I went to one of the summer training camps, and it’s the exact same thing — a real grind. That’s what inspired me to do it as a full-blown, big sports movie.
From the first conversation I had with Charles, he’s like, ‘These are musicians, but this is a sports movie.’
I got a call from Donna Isaacson, who was head of casting for 20th Century Fox. Then Charles and I had lunch at the Beverly Wilshire and talked about the character of Dr. Lee, and the scope, and how he was looking to shoot it. He talked about how he’d dramatize the element of halftime at historically black colleges.
I was excited about the fact that Hollywood was actually telling the story of a part of the experience of attending a historically black college.
It felt like such a young, hip and super unique college story about young people trying to make a name for themselves. … I just felt happy and grateful to be doing a film about a piece of American culture … and a side of American college life that hasn’t really been tapped on enough.
But the studio kept focusing on a white character. That we had to have a white character to market the movie.
I got a call from Fox. They said, ‘Dallas, we don’t know how to say this, but put white people in the movie.’ I said, ‘OK, how many white people do you want?’ They said, ‘We want somebody in the band. … We have to have a character, because now it’s turning into a black movie.’
The studio wanted a white character in the midst of this ensemble of color in order to support or give us the amount of money we wanted. We needed $20 million to make it. They were offering us $15 million.
First, it was a $13 million movie, which is a lot for an urban film, so to speak, at that time. I was trying to tell them, it’s not an urban film, it’s a story … it’s a team story. We started going over $13 million, because nobody knew what it was like to film 300-piece marching bands.
In order for me to get the additional $5 million, I had to create a white character.
I said, ‘Let me see how a white kid’s story would be inside of a black marching band without making it ridiculous.’ I go to Morris Brown College one day, and I see this kid. He’s one of the cymbal players, a white kid with red hair. I said, ‘Where’d you come from?’ He said, ‘In Atlanta, down the street. I’ve always wanted to be in the band because I grew up in the neighborhood.’ We followed that story into GQ’s character.
I got this appointment for Drumline … and Charles was like, ‘Hey, can you play the drum?’ … I wasn’t trained growing up, playing the drums, but I’m a musician. So I saw the question as, ‘Do you have rhythm?’ I’m like, ‘Fuck yeah, I got rhythm.’ It’s funny that I ended up getting the role where the guy has rhythm issues.
“In order for me to get the additional $5 million, I had to create a white character.”
I got a hold of the script and really dug the idea. Then, I met with Charles …
Leonard wasn’t my first pick for Sean. The studio wanted Leonard because he has this beautiful, booming voice, and he’s really good-looking. I thought he was fine in his audition, but I liked Khalil Kain [Juice, Girlfriends, Love Jones] who was good. He was a real antagonist, which is what I liked. … I had to fight the head of Fox 2000. I finally gave up.
I met with Charles over at Fox. … I got there early and was hanging out. At the time, I’d just done He Got Game with Spike Lee, and I drove a Range Rover in the movie. At that time, it was the nicest car I’d ever driven. I was like, Man, when I get my money, I’d love to have one of these. So I’m sitting at Fox, looking out the window. I see this Range pull up. The window comes down, and it’s Nick Cannon.
Second Quarter: Funky Drummers
The late 1990s and early 2000s? This was before Nick Cannon was really Nick Cannon, although flashes of stardom were apparent. A stand-up comedian from San Diego, he burst onto the Hollywood scene on Nickelodeon’s youth sketch comedy series All That and teen sitcom Kenan & Kel. At age 17, through his work on All That, Cannon became the youngest writer in television history. That talent and charisma led Nickelodeon to give him his own spinoff, The Nick Cannon Show, which launched in 2002 with Cannon starring, producing and directing. While casting for Drumline’s lead role of Devon Miles, a me-against-the-world snare drummer from Harlem who secretly couldn’t read music, screenwriter Tina Gordon Chism remembers sitting in producer Wendy Finerman’s office going through audition tapes. One especially stood out.
I started to hear about all of the different people who were auditioning. I really thought, I don’t know if I’m going to get it.
I remember a really young Lil Wayne coming in for an audition.
T.I. auditioned, too. He represented another part of my character, in a different way. But I felt like Nick, at the time, was closer to ‘me’ because I wasn’t overly cocky. I just knew what I was doing.
I definitely saw something in Devon. It was me … I was probably the same knucklehead who thought he knew it all. That’s … why I embodied the character so well.
Nick … had something that made me vote for him. He was cute, and he was a very talented, strong actor. He was able to show the bad boy but add a vulnerability to it that made it charming. None of the other actors even hinted at vulnerability.
It got down to Nick and Lee Thompson Young [The Famous Jett Jackson, Rizzoli & Isles].
They auditioned me like three or four times. In the screen test, they team you up with different people. They teamed me with Zoe Saldana. I didn’t know who she was, but there was something there.
I didn’t know that much about him … but everybody said great things about him. Once I met him, he certainly did not disappoint me.
A friend of mine, Kim Porter, I’ve been knowing her since kindergarten. By the time we got to high school … we were kind of flirty and datey. We were in band together — she played bells. … Zoe’s character, Laila, was kind of written after Kim. … I was kind of looking for a girl who reminded me of Kim and was close to what she looked like.
Laila … I felt like she was a relatable character. … I really liked how they’d written her to be — genuinely, like, a nice person.
Zoe … you could imagine somebody falling in love with her at first sight. She had a smartness to her that was really important for her character. She carried herself like a Spelman girl.
I remember me even having a crush on Zoe. … I think she had a boyfriend at the time, though …
He was really funny. There was a serenity to Nick’s demeanor that was very pleasant.
It got down to between Zoe Saldana and Kerry Washington. Zoe had a realism to her. I mean, she’s fine as all hell, both her and Kerry. But Kerry had a refined technique that … for me, at the time, was a little too refined.
That screen test, it just felt right. I had actually had a conversation with Charles the night before. I had been doing Nickelodeon work, and he was like, ‘I want you to be you. I don’t want you to bring in any of the TV persona.’
Nick had raw talent … a boyishness that didn’t feel manufactured, or like he was performing. He was also so passionate to get the job.
I got the call and … I’m gonna be honest, I was just happy to have booked a job. I didn’t know how big, culturally, it was going to be.
Third Quarter: Give the drummer some
Drumline’s fictional Atlanta A&T needed a legit HBCU marching band, and Dallas Austin trusted only one person to deliver. Don Roberts, then band director at Atlanta’s Southwest DeKalb High School, received a phone call from Austin, who asked to attend one of his band’s rehearsals. Under Roberts’ tutelage, the Marching Panthers, through performances at the 1996 Centennial Olympic Games, the Macy’s Thanksgiving Day Parade and the Rose Bowl, had become one of the most recognizable bands in Atlanta and the entire nation. Austin was a huge fan. “He came to band rehearsal with his entourage,” said Roberts, a former Florida A&M drum major and the executive consultant on the ESPN/The Undefeated HBCU Band Rankings. “They watched for a little while, and then he said, ‘I wanna talk to you about this project … this movie that’s gonna be coming out two years from now.’” A year later, Roberts got a call from Drumline line producer Timothy Bourne and was brought on as the film’s executive band consultant, tasked with building Atlanta A&T’s band from the ground up. He formed a small team that included two percussion instructors, Keith Sailor and Demetrius Hubert, bass drum coach Corey Lowe and dance coach Glenda Morton. Most of the Atlanta A&T band you see in Drumline is made up of high school students from Southwest DeKalb. As for the drumline? A mix of real HBCU drummers and actors put through training hell.
We assembled the drumline long before we started shooting, because we wanted to make it as authentic as possible.
I knew the work Don was doing. If he could do it with kids, then of course he could put a fictional band together that would be just as good.
I feel like I owe them all apologies. I didn’t know actors were supposed to be pampered. I don’t want to use the word ‘hazing,’ but, man, they went through it. We treated them as we would first-year band members.
I played in my eighth-grade band. It was a little marching band. The stuff that we were doing in comparison to what we were doing in Drumline? Man, it was small potatoes. Was I prepared? Hell no.
I come from New York, and my sister stepped in high school as a cheerleader, but I didn’t really know that much about the whole Southern HBCU band and dance culture. I was in for a ride.
We got to Atlanta in late winter of 2001, and we were in music class at Southwest DeKalb High School. Immersing ourselves in it became an all-consuming thing.
Imagine Nick Cannon in a high school band, [next to] my drum players holding the sticks. We did that.
Nick and myself arrived two weeks prior to everyone else’s first day. We were each assigned a drum coach. I had my homie Corey Lowe on the big bass drum teaching me. Nick had this dude named Snoop, who was teaching him the snare.
The actors get there, and we see they don’t know about drumming at all. So the real drummers, we’re laughing and making jokes, but at the same time we feel some type of way. We’re like, Oh, OK. Hollywood wants to make a movie about drumlines and HBCU culture in the South, but you have actors supposed to be doing this drumming? Like, who is Nick Cannon?
“I was rooting for this movie from the beginning. It felt like we won.”
I didn’t want a drum double. I remember telling Charles, ‘I want to figure out how to do it myself.’ But some of the stuff was so intricate … if I had to have a double, I wanted the best. Snoop was the best.
All Nick carried around with him throughout that time were drumsticks. It was like, ‘Damn, this dude is really in this.’ He’s beating on tables with drumsticks … he’s flipping the sticks in the air. He’s in his trailer working one of the pads, getting the sticking down.
In the beginning he would drop them everywhere, and by the time we started shooting he knew how to move these drumsticks so swiftly through his fingers. It was great to see how committed he was to this part.
Nick was dedicated to getting better. One time he got frustrated … and kind of threw the sticks down. I was like, ‘Oh, you don’t want to play anymore?’ He said, ‘Man, I’m not going to need this after this movie anyway.’ I told him, ‘Yeah, but right now you need this, so you might as well pick up the sticks, because this is your job right now.’
At one point … my hand had ripped open. My drum was covered in blood. I had a big gouge taken out of my finger from the repetition of using this mallet … I played through that shit.
It was literally like boot camp. We’d show up to set, eyes red. Some people would get sick … we were doing B-12 shots. I developed hard scars on the side of my abdomen — it was scar tissue from the weight and pressure of the drum.
Everybody worked really, really hard on their characters. It wasn’t like our characters had easy things to do. They were musicians, we were dancers, and we had to practice. There were a lot of rehearsals, a lot of choreography, and a lot of routines and instruments to learn to sort of maneuver.
… I’m over here struggling with this tuba, trying to hold it and at least pretend like I know what I’m doing.
You couldn’t be pretending to do any of this.
I was drumming, as well. … For me, it was wanting to understand exactly what the drumlines were going through and wanting to understand what my role as leader of that band was. That was taught to me by Don Roberts.
We put the baton in his hand and had to show him how to conduct. You want to look like a real band director or people were going to chew you up. … The choreographer with the dancers, Glenda Morton, she did the same thing with Zoe. She drilled her.
Zoe worked super hard learning all the dances. She never let up.
I thought it was a little odd for her at first because there’s such a sassy, black Southern girl thing that goes along with it. But once she settled into her character, it became second nature. Anything is awkward like that at first … shaking your hips like that.
Here I am with a classical ballet background, and I just had no mobility in my hips. … I definitely trained a lot … by the end, I felt like I could drop it like it’s hot.
We worked the crap out of those guys and they took it. They were not Hollywood. They were not too big for this. They came in and they sweated. … I remember [assistant percussion director] Keith Sailor, he started calling the guys ‘The Senate.’ … We brought it back to Charles … and the next thing I knew, it was in the script.
Fourth Quarter: Different Drummers
The first time the Atlanta A&T marching band took the field on camera was week two of shooting, for “The Halftime Show.” Freshman phenom Devon Miles was named a P-1 snare on A&T’s drumline, and in the tunnel of the football stadium, he anxiously awaited his debut performance. Cinematographer Hurlbut envisioned the scene taking shape in a huge tunnel, like the one the USC football team emerges from at the 93,000-seat Los Angeles Memorial Coliseum. What he had to work with was the tiny tunnel of Clark Atlanta’s Panther Stadium. Capacity: 5,000 seats.
I was like, ‘All right. So how can we make this work? … What if we just pile the whole band in that tunnel? Not just the drumline, but everyone.’
They’re in this tunnel and you can hear the thumping and the noise outside, the cheering and stuff, but it’s muffled. Then Sean and Devon have an argument, then … the football team comes pouring in, and that adds another sonic layer of commotion.
I had the tagline of the movie during that scene … ‘Down here, it’s about the marching bands … Halftime is game time.’ It really is that serious … it’s life.
You see Dr. Lee come in, and he goes, ‘One band, one sound!’ … You see that long tunnel of fluorescent lights … all of a sudden, this stick comes up in the frame and goes completely parallel across the image. Then, it just goes tap, tap, tap, tap. Then, it’s like, BOOM, they explode.
Coming out of the tunnel all hype, it was cold, we were yelling, there were so many people out there. It was late at night. We were like, Let’s get it.
When Devon is going onto the field for the first time — go back and watch Gladiator, it feels like the same thing. But instead of lions and swords, it’s drums and sticks.
The first moment the band was together, you kind of go, ‘Oh, my God, I get this.’ The sound. Your body. Your heart. Everything is pounding internally. … It’s really a physical experience.
I had no idea how stylized this movie was going to be. … Charles and Shane did a great job.
Everything about it felt like I was in a dream, but it felt like I had walked this dream before in real life.
“When Devon is going onto the field for the first time — go back and watch Gladiator, it feels like the same thing. But instead of lions and swords, it’s drums and sticks.”
The sound hits you like a wave. I’ll never forget that feeling. I was like, God damn, this is so inspiring. This is unbelievable. Halftime is game time. I tried to make it as big and grand as possible. This was Devon’s first game. He gets out there, he sees the crowd, he kind of starts to freak out, he fails.
In this moment, A&T’s senior drum section leader Sean Taylor, played by Leonard Roberts, steps up for a solo. After overcoming his nerves, Devon Miles, played by Nick Cannon, follows suit, stealing the spotlight from Sean. Most of Cannon’s drumming in this scene is done by Jason “Snoop” Price.
It was stick-around-the-head, stick-around-the-head.
You see the stuff that’s me. And those super close shots usually are Snoop.
We filmed that part a couple of times because I couldn’t feel my frickin’ fingers … my fingers were frozen. It was so cold in Atlanta. … I made the solo up and everything, but I had to go up into the studio and do it again so it could come out really crisp and clean.
We had to make sure everything was crisp — whatever it took to make it real.
They were able to mix all the drumming in afterwards in the edit, so they didn’t miss a beat. Every time that stick hit the snare, it popped. It sang. They made me seem like I was crazy with it. As the filming went on, you saw a bunch of wide shots. If you watch the last drum battle, it’s nothing but wide shots. By that time … I’d picked up all of the cadences.
By the time we got to the final scene? No doubles.
Fifth Quarter: Drum Machine
Drumline’s halftime scene was beautiful, but the entire film relied upon the cast and crew nailing the fictional BET Big Southern Classic. For this battle of the bands, Drumline received the keys to the Georgia Dome. Within a tight, two-day window, everybody and their mama showed up: ESPN broadcaster Stuart Scott called the event from the booth. Blu Cantrell sang the national anthem. 106 & Park hosts A.J. and Free MC’d the spectacle. And rapper Petey Pablo, who drove a Bentley onto the field, performed with Morris Brown’s actual band. It seemed all of Atlanta came out to watch real-life marching bands, which also included Bethune-Cookman, Clark Atlanta and Grambling State, square off against the Hollywood-crafted Atlanta A&T. Florida A&M’s Marching 100 and Southern’s Human Jukebox, however, were noticeably absent. “Both of them gave the same answers,” Don Roberts remembers, and paraphrases: Thank you for the invitation to participate; however, we don’t lose. Not in real life and not in fiction.
As the story goes, the competition ended in a tie between Morris Brown and Atlanta A&T, whose Jackson 5-inspired, old school-meets-new-school routine was nothing short of amazing. To decide which band would emerge as victor, each team’s drumlines went toe-to-toe. But as the film’s crew prepared for the final scene, which screenwriter Tina Gordon Chism modeled after the drumline battles that often unfolded near team buses after games, Stone and Hurlbut faced a problem.
Shane came up with a great idea of shooting it like it’s a boxing match. … All the lights would drop out except for the overheads on the field.
Nick was hell-bent … ‘I’m doing all my scenes. I’m not going to have a stand-in, no double, nothing.’ The same thing with Leonard. Nick stayed up pretty much all night long in the hotel, working.
We really did stay up all night, just drilling, drilling, drilling. We kept going over the cadences. You drop the sticks? OK, pick them up again. I told Nick, ‘If you want this to just be you in the end scene, we’re going to have to grind it out.’ And he was a champ — he grinded it out.
I wanted it to be authentic. I wanted it to be real. You see all these movies where they cut to the double. If I’m supposed to be the best, I wanted to do everything I could do to be the best.
Sometimes scenes in movies are shot out of sequence … but this purposefully and necessarily was shot at the very end of shooting because they needed us, the five actors in the drumline, to be as on-point as humanly possible, so that we actually did beat Morris Brown’s drumline.
We were so immersed in our characters, and the Atlanta A&T band, that in our minds, when we did that scene, we really believed we were better than Morris Brown.
You could feel the tension. Everyone on the crew was like, ‘Holy shit. Our boys are going to war right now, and we’re getting to watch it.’ There was this feeling in the air of do-or-die time.
The real-life drummers … they didn’t feel that great about actors portraying drummers on a drumline that they’d sacrificed and worked very hard to get on [in real life]. They weren’t that impressed. So it was like boxers before a fight, all that trash-talking.
I was kind of stoking that fire a little bit, supporting both sides to bring it, you know? I actually wore a T-shirt I had made … a Morris Brown T-shirt and an Atlanta A&T T-shirt, cut in half and then sewed together. It was an ugly-ass looking shirt … but I wore it in solidarity or just support for both teams.
One of the best parts of being in the marching band was when … the drumlines would go on afterwards. … Those battles were very intense.
To this day, one of my favorite shots I’ve ever done is that fucking one that lays on the 50-yard line, and it’s a sea of black, but the 50-yard line is lit, and those two bands come in from the side and just line up right next to each other.
It was like a Rocky moment.
But I’ll tell you straightforward, the first time we did the scene, Morris Brown kicked Atlanta A&T’s ass.
Morris Brown fired up a drum cadence that was so sexy … it was like, If you guys win in this movie, it’s gonna be because of some Hollywood shit.
They were a seasoned drumline that had been playing for years. We were a drumline that was built in a couple of weeks. If you look at it, we made this movie at the end of the marching season. They’d already been playing these cadences the whole season. They were so tight that it was like, what can we do to top this? We had actors in our drumline. We had actors on the snare line. We had actors on the tenor line. We had actors on the bass line. But that couldn’t hold us back.
We had to learn new cadences at the 11th hour just because Morris Brown came in smoking.
After Charles jumped down my throat, I jumped down my staff’s, and we all literally went around the corner at the Georgia Dome, found us a quiet spot … and the guys went to work. Nick went to work. … They took it up a whole notch and elevated the routine. When they came back, it was war. I mean, these guys were not speaking, and Charles was like, ‘Let it stay that way.’ It was like two boxers that were about to fight. These guys were not speaking.
It got to the point where we lost the fact that we were in a movie. … It was a real battle. … You wanted to kill them, especially after they’d smoked us in the rehearsal.
There was an actual fight before we started filming. There was someone from Morris Brown that was on our side, playing with our group. And they checked him. Morris Brown really checked dude … like, ‘Hey, what are you doing? Get him over here.’ He left from our side and went over to Morris Brown.
People were hot, and you want that.
The percussion instructor brought me over to see what Morris Brown had cooking up. … They showed me them putting their own drums aside and [simulated] playing on the other [team’s] snares, and I thought, that’s fucking awesome.
Charles goes, ‘Morris Brown is going to go over there and bang on A&T’s drums … we need a close-up camera here, so the reaction is absolutely real.’
I didn’t tell Atlanta A&T that that’s what was gonna happen.
Beating on someone else’s drum is a big no-no. It’s a big dis … basically like they were trying to injure the other team’s quarterback.
“It got to the point where we lost the fact that we were in a movie. … It was a real battle.”
When it happened, I think I just remember everybody freaking out, and it was the exact reaction that Morris Brown wanted.
I knew that was going to happen, so when they walked up, I was preparing myself, but the rest of the drummers didn’t know.
We were shocked. We took that as a real insult. It was like, Oh, shit. The reactions that you saw from Nick and everybody were real.
They looked like, What the fuck? What happened just now? Did they really just hit my drum? I really gotta stay in formation while they’re doing this?
We had to show that ability to withstand and hold it all in. It meant a lot when it happened, and we were hot about it. We went back and said, ‘Well, we gon’ beat on their drums.’ But it was like, ‘Nah, that’s kind of redundant.’
We added — I don’t want to say a gymnast approach, but added different elements … more jumps, more flips, not stick flips but more people doing flips, people getting on other people’s shoulders. Cymbal players getting on other people’s shoulders, doing pushups and playing at the same time, getting on your back and having somebody play the bass drum. We added a different entertaining, performance element.
Charles would have to say, ‘Cut,’ maybe four or five different times because we were just fully focused.
Our drumline wins … but nobody cared that that’s what was written on the script.
We laid it all out there. When you see that last and final cadence, that’s probably the one I worked on the hardest, and you get to actually see. We’re in there drumming, and sticking, throwing the sticks and catching the sticks, doing everything. By that time, we were a well-oiled machine.
What you saw was real. Those boys were in there. They were in there playing. They were doing their thing.
Atlanta A&T gave Morris Brown way more go than anybody thought they would.
I’m super proud of that scene. That scene is special.
The Postgame: The Legacy of Drumline
In 2014, the Atlanta A&T marching band returned in Drumline: A New Beat. Originally conceived as a miniseries, it became a made-for-TV movie, told through the lens of a young female drummer who arrives on campus hoping to revitalize the fictional HBCU’s once-revered drumline. In the movie, Nick Cannon and Leonard Roberts both reprise their original roles as the now long-graduated Devon Miles and Sean Taylor. Cannon, Wendy Finerman and Jody Gerson are all credited as producers, and Don Roberts once again serves as executive band consultant. “It was executed well,” said Cannon, “but I think the higher-ups didn’t give it an opportunity to thrive as a television show.” Fifteen years since the film’s debut, the legacy of Drumline is undeniable.
The legacy of Drumline grows, and continues to grow. No one saw it coming. They thought it was just this little film about this cool subculture.
It ended up being one of the best-reviewed films that year … very successful, and I cried when that happened, because I was rooting for this movie from the beginning. It felt like we won.
Who would’ve thought that Fox’s little project in Atlanta was going to be the epic cult classic, and beyond cult classic now, that it is today? It’s been run on TV for so long that actually, 15 years later, I get recognized more now than I did in the years right after it came out, because it’s so embedded in people’s consciousnesses.
We were told we were all a part of a little movie that ended up being a very big thing in America. A lot of young people took to it and supported it.
I’m amazed that now it’s getting to the point where … you can actually see another generation discover Drumline.
“Drumline crossed over into … every part of the population — but it’s a black film. … To me, that’s revolutionary.”
I’ve had people come up to me and say, ‘How do you feel to have influenced a whole generation of young people?’
I’m really proud of what Drumline spawned into the culture.
I’ll be honest. I thought that really only our community, meaning the black community, was going to be able to appreciate it. … Historically black colleges, the experience of bands, that’s something that’s deeply rooted within our culture and something that, prior to Drumline, was never really talked about and never really exposed.
People come up to me to this day, not one of them who are African-American, and they tell me how we introduced a subculture to them that they never knew existed … but that it inspired them.
Drumline crossed over into … every part of the population — but it’s a black film. … To me, that’s revolutionary.
We were taking something from black culture and showing it to the world, so it had to be right. It had to be correct. This was the first time that the world was going to see anything about an HBCU marching band or drumline.
No one knew about drumlines. Now they’re common knowledge.
Florida A&M thought the movie was about them. North Carolina A&T thought the movie was about them. Southern thought it was about them. Jackson State thought it was about them. Everybody sees themselves in the movie. … When I talk to these college band directors, and they see their band program in Drumline, I just feel honored that we honored them.
It was part music movie, part sports movie, part superhero origin story. All of those things wrapped up in one.
It’s the fifth quarter. We were just as important, if not more important than the football team. It was a music movie, a sports movie, all in one. That’s why it was really special.
It’s a sports film — the discipline, and the practice. It goes hand in hand with football. It just wasn’t as cool to be in the marching band until Drumline.
These interviews have been edited for clarity and length.
Dallas Austin: Runs Atlanta’s Urban Angels Studios (formerly known as D.A.R.P. Studios), while also recording out of the United Kingdom’s TAPE London studio. He is also one half of the band, Follow the Nomad, with Naz Tokio.
Nick Cannon: Second-year student at Howard University, executive producer and host of MTV’s Nick Cannon Presents: Wild ’N Out, founder/CEO of Ncredible Entertainment.
Candace Carey: Stars as “Canbe” in the indie film Ratchetville, scheduled to release on Netflix in winter of 2017.
Tina Gordon Chism: Made directorial debut with 2013’s Peeples, screenplay writer/executive producer for Hulu’s 2017 single-camera comedy pilot Crushed and screenplay writer for the forthcoming Nappily Ever After.
Wendy Finerman: Executive producer of 2014’s Drumline: A New Beat and Lifetime’s new Loved by the 10th Date; founder/president of Wendy Finerman productions.
GQ: Founder and creative director of Q Brothers, a collective that translates classic pieces of literature into hip-hop musicals, which he co-writes, directs, and stars in. He and his brothers’ plays have toured the world and run off-Broadway.
Jody Gerson: Chairman and CEO, Universal Music Publishing.
Shane Hurlbut: Recent cinematography work includes 2015’s Gabriele Muccino-directed Fathers and Daughters and 2017’s The Babysitter and The Adventurers.
Orlando Jones: Recent work includes starring in films Book of Love and Madiba, the STARZ series American Gods and executive producing Tom Clancy’s Ghost Recon Wildlands: War Within the Cartel for Amazon and Twitch.
Earl Poitier: Recent appearances include The Immortal Life of Henrietta Lacks, Shots Fired and Baywatch.
Jason Price: Founder of entertainment company P.O.P. (Power of Percussion) UNPLUGGED, and artistic director of P.O.P.’D (Power of Percussion & Drums) entertainment ensemble.
Leonard Roberts: Recent appearances include American Crime Story: The People v. O.J. Simpson and The Magicians.
Shay Roundtree: Recently starred in 2016’s Save Me from Love.
Zoe Saldana: Stars as “Gamora” in 2018 Marvel film Avengers: Infinity War; filming Avatar 2, set to release in 2020.
Jason Weaver: Has appeared in 2006’s ATL, 2010’s Lottery Ticket, the animated series The LeBrons (2011–2014), and a 2016 episode of Black-ish.
Illustrations by Alexander Wells.