Bobby Hoffman is a product of New Jersey. He first played tenor drum in a small corps called the Bergenfield Ravens (later called the Dumont Police Cadets). This small corps also produced legends Dennis Delucia, Carl Ruocco, and Bruce Lages.

Bobby was next a tenor drummer with St. Anne's Cadets (of Fairlawn, NJ). Paul Zito recounts, “I am priveleged to have known him. His family lived in a big Victorian house on Teaneck Road. Bobby came to St. Anne's from the Bergenfield Ravens. In 1954-1955, his father drove him and his younger brother Billy to practices in Fairlawn (20 minutes away). His father used to transport us kids all over the place, especially to the winter color guard contests down in Philly. Bobby liked to strut around with his collar up in the back and was crazy about a cute little 'guide-on' named Dolores Rambit. In 1955, when we stayed in a Monastery outside of Boston, on a weekend trip to contests in Beverly and Lawrence, Bobby instigated a trip into Boston to see the infamous 'Scully Square.' Only thing is... Scully Square was no more! They tore it down in 1953. And all he got was a big chewing out from Father Rowland, St. Anne's moderator, for breaking curfew.” It seems Bobby liked to tempt fate, even at a young age!

Around 1960, Bobby took the field as a drummer with the famed Hawthorne Caballeros senior corps, perhaps the preeminent corps of the era. Frank Gerris (President & General Manager of the Caballeros competing corps) recalls, “Bobby was the first one to use a harness when he played timbale with the Cabs. Jim Costello designed it and never got a patent! Bobby was a good friend and a hell of a guy.” Peter Foote, French Horn player in 1962-1963, commented “I remember marching Caballeros when Bobby Hoffman carried the heaviest set of timbales ever made, I bet. They were copper (as I remember), and the custom shoulder rig made them an awful burden. I honestly don't know how he carried those drums; I do remember he leaned waaay back with 'em.” It's safe to say Bobby learned a little something about soaking up the crowd's approval with one of the most appealing corps of the day.

Bobby was raised in the “old school” approach to drum corps. He began teaching and writing drill for the junior wing of the Caballeros, the Hawthorne Muchachos winter guard and the junior corps in the late 1960s. He also taught drill to the Skyliners Senior Corps around this time.

He moved over to the Garfield Cadets (of Garfield, NJ) in the early 1970s. The Garfield Cadets had been a strong corps in the 1950s, having captured many national titles, but were struggling at this time.

Bobby's career in drum corps advanced when he was invited into the Anaheim Kingsmen corps (of Anaheim, CA) in 1973 or 1974. The Kingsmen were a powerhouse corps and were the first champions of the fledgling Drum Corps International (DCI) in 1972. Charlie Groh (Hoffman's main drill execution man with the Kingsmen) commented “Bobby was a classically-oriented drill writer & creative guy, big into Rock & Roll. He was a GREAT guy to hang out with. What he did really well was the nuts & bolts aspects of the drill: to write it, teach it, and clean it.” The Kingsmen modeled themselves on military traditions in an attempt to capture some of the military precision and dedication that came with chasing a title championship each year. Charlie added “The Kingsmen had a built-in discipline. It's like we're in battle together, we're in the same foxhole. It's the fun of hard work and accomplishment that propels us.” This fierce determination by staff and members made for a stronger corps that was focused on clean shows in the old days of the judges' “tic” system where each mistake caught, cost a tenth of point from a corps final score.

Next, Bobby worked with the First Federal Blue Stars. David Kampschroer (Executive Director of the Blue Stars in 1975, and one of the corps founders in 1964) recalls “Feeling that we needed some strong outside influence, I hired Bobby and he relocated to La Crosse, WI with a few older veterans from the Midwest (most notably Don Hill) who had followed Bobby to the West Coast. Bobby was hired as the drill writer/teacher, but Bobby was also a MOST ORGANIZED administrator who did an amazing job with very FEW resources. By the end of the season, his 'Chicago' show became a solid DCI finalist performance, when we would have been marginally capable of fielding a successful product that year.”

By this point, Drum Corps International (DCI) was gaining ground as the preeminent junior drum corps competitive circuit, while the VFW and American Legion circuits were losing ground. DCI rules had changed in an attempt to free up the rigid structure of, and approach to, shows. Corps no longer needed to line up on Side 1 (the left goal line as seen from the stands). And their choice of music was opened up so corps were no longer restricted to a limited choice of pieces, which had to be submitted pre-season to governing drum corps authorities for approval. DCI was looking to grow the activity during an economic downturn when financial support of corps was drieing up, membership was down, and corps were folding. The time was ripe to try something new.

Back on the East Coast, the St. Andrew's Bridgemen were struggling to stay alive in 1975. With membership and church support waning, the corps was in decline. Father Donovan knew his tenure with St. Andrew Church was coming to a close, while Director Ed Holmes saw the morale of his kids sinking. They decided to roll the dice in an effort to revitalize the corps and bring them back into the thick of things. Knowing Bobby Hoffman's track record with success, they brought him in to discuss taking over the reins of the Bridgemen. Bobby agreed to move back East if they would turn over the creative direction of the corps to him, without interference. It was a leap of faith by Fr. Donovan and Director Holmes, but a decision that paid off in spades.

Bobby met some opposition to his wild ideas internally. St. Andrew's Alumni were adamant that the corps shouldn't make a radical break with the style and uniform of their cherished beginnings. But Hoffman argued that this is a new corps that could not be reined in by rules of the past. In his zeal to give the Bridgemen a fresh start, many veterans of St. Andrew's fell away from the organization. Still, membership grew in the coming months, as young performers from around the Northeast had faith that Bayonne was the place to be. Bridgemen membership was moving away from strictly neighborhood kids to include people willing to commute for hours to be a part of something special.

Hoffman was very influenced by the level of show appeal and showmanship of other types of entertainment, notably Broadway theater. He envisioned a corps show being more accessible, a freer creative outlet that had more to do with modern entertainment. A show that would give the audience their money's worth. Bobby recognized that a good show, no matter what the medium, took audiences on a journey through different moods. Musically and visually, he wanted the audience to experience different colors and textures. And if the audience craved more at show's end, he'd earned his pay for the day.

Bobby had seen the innovations of some winter guards in the mid 1970s, and enjoyed how some were trying new things, sometimes at the cost of judges' approval. That's often the price to pay for some groups who try to blaze a trail to improve the activity. Plus the clown antics and popularity of corps like the CMCC Warriors (of the Bronx, NY) must have struck a chord within him, as he envisioned a new day for a corps that was willing to take chances. For the activity to thrive, there HAD to be changes.

Bobby set about pulling together the talent needed to set this mission on course. He trusted the brass arranging abilities of Larry Kerchner (lead horn instructor), who had already been arranging for St. Andrew's since 1970, and encouraged him to strike in a new direction. He drew in other talented visionaries like Dennis Delucia (percussion arranger & lead drum instructor), Tom Pratt (color guard choreographer & lead guard instructor), plus Greg Pych & Jim Messina (drill instructors), with the promise that they would embark on a journey that would free them from the creative restrictions they had known through the years. They would have limitless creative input and no idea wasn't worth discussing. Bobby wasn't just drawing together instructors to delegate responsibilities; he was putting together a creative team that would make their dream a reality.

The evolution of their hallmark uniforms is a story unto itself. Read an interview with Bobby, “How to Build a Banana” for the lowdown. As well as Dennis Delucia's recollection of how it all came together as Dennis Delucia is interviewed by DCI. Bobby kept the new uniforms under wraps for as long as possible. The corps marched in 1976's Memorial Day parade in pale yellow member jackets. Their new look and style were unleashed on the activity at the home show, “Tournament of Stars,” in Bayonne.

When the loud-colored uniforms and flags first appeared in public, audiences could not believe their eyes! Bobby saw the apparel as costumes, not uniforms; more in line with what audiences saw on stage, TV, or in the movies. Bobby's stage just happened to be on a football field.

The new drill moved away from the squad formations of the era in favor of pleasing forms that complemented the music. In formulating their opening formation for the 1976 show, Bobby's sense of mischief led him to line the corps up at the goal line (the old style of opening a corps show) in the outrageous uniforms, then the Bridgemen stepped off with the fast-driving “William Tell Overture” Off The Line (OTL). But this “Tell” was a radical departure from the St. Andrew's days. It still featured the demanding fast-tounging runs that had first propelled the Bridgemen hornline into the spotlight years earlier. But it also unleashed jazzy riffs and a playfulness that were a road sign for the new approach that was unfolding. The Caribbean flavor of the drum solo “St. Thomas” let Dennis Delucia show off some of the flavors he could weave into the mix. Chuck Mangione's beautiful “Land of Make Believe” immediately changed the mood with soft soprano solos on top with lush, sustained chords beneath. Then the bouncy melody took over. Next, the passionate latin-flavored soprano solo and percussion rhythms, plus the dancing couple in front of them, brought show appeal to a whole new level as the audience couldn't resist the Bridgemen's charm. “Stars & Stripes“ celebrated the nation's bicentennial in 1976, while the “Farandole“ drum solo gave freer expression to an old German folk song. Then the corps displayed Bobby's love of Broadway theater with “A Chorus Line.” “What I Did For Love,” swept the field with a sad, but pretty, love song to change moods again. Then the exhultant “One” took over. The color guard discarded their black coats to reveal a dancing Broadway-style kickline, complete with glittering silver and tails! A costume change was a breakthrough in this era. The show ended with the kickline waving enthusiastically at the audience while the horns, drums, and color guard gave their all in the closing seconds of the show.

Members and staff had fun as Bridgemen, and the audience had fun whenever the Bridgemen took the field (unless you liked the old-time traditions better).

The Bridgemen cracked into DCI Finals in 1976, newly revitalized and Hoffman smiled at the reversal of fortune he had engineered for the corps in Bayonne. The Bridgemen went from non-finalists to 6th place finalists in one year and the future loomed bright. Now it was time to set about trying to capture the DCI crown for an East Coast corps for the first time.

There are many reasons Bobby was so ahead of his time and had such a profound effect on his students. Hoffman instilled in the retooled Bridgemen an ironclad determination to max out each performance. Yes, to play and march as cleanly as possible, but also to give of themselves emotionally; to give in to the adrenaline rush and lay it all on the line. Members yell "HYPE!" on the field because they're wound up and determined to put on an intense, spirited show for the audience. Bobby often spoke of Karma: “You get back what you put out.” Further, he said, “The more you give, the more you receive.” Audiences learned that the Bridgemen took the field determined to entertain with every ounce of energy they could muster. And audiences gave their adulation because they loved these brash performers. No other corps could connect with an audience like the Bridgemen could.

Bobby listened to the ideas of others and absorbed the best ones into his shows each year. And he was never afraid to work in some comedy gags, or “gimmicks” as he called them, into the routines, like the “riding the pony” move at the end of the “William Tell Overture.” Many of the hallmark moves for which the Bridgemen are remembered began as playful asides that staff or members came up with. The Bridgemen “knock” is a good example. Low brass player Pat Forker remembers this hallmark Bridgemen visual which came about at the VFW Nationals at Randalls Island in 1976. “During the walk over for the finals performance, the contra line did an arm swing to the tune 'Mellow Yellow' led by Carlton Varnum. Hoffman saw it, liked it and it was then imitated by the whole corps.” Bobby also embraced a nickname for the corps that was intended as a joke, but was nothing short of a marketing coup. The Garfield Cadets called them “The Bananas.” Soon Bobby promoted this nickname to enhance their playful image, which sold thousands of banana dolls (with floppy hats and bandanas) on the souvie stands!

Despite his willingness to try anything, even Bobby knew there was a limit to what they could get away with on the field. As Hoffman used to say, "There's nothing worse than a half-baked gimmick." Which is to say, don't do anything half way; max it out or don't do it at all.

His show approach had its supporters and detractors in the activity. He wasn't out to be a radical, but he was pursuing a path that some questioned. While some saw him as a bohemian revolutionary challenging the cherished status quo, others saw him as a visionary they could get behind.

The free-thinking Hoffman had developed a reputation as a being a bit eccentric. He was constantly pushing the boundaries of what was feasible on a football field. The Bridgemen were becoming less of a traditional drum corps and more of a touring musical/visual production. All in the name of maximizing the entertainment for audiences everywhere. His approach to shows was progressive and cutting-edge. Many of his innovations, and those of his collaborators, were picked up by other corps and marching bands across North America to enhance their own shows.

1976 was also a turning point for many other fine junior corps who also changed uniforms and embraced a more appealing show approach, notably the Blue Devils (of Concord, CA) and the Cavaliers (of Chicago, IL). There were other great corps that year, but the Bridgemen offered a unique style to enjoy.

In the winter of 1976-1977, the hornline was making great strides in developing their sound. Larry Kerchner was improving the hornline's tone quality, intonation, and blend & balance. Plus the hornline was moving away from the traditional full-out loud playing in favor of dynamics (volume level changes). These improvements would characterize the new Bridgemen sound and put the hornline into the race for top hornline of DCI.

Bobby eliminated the high leg lifts and some snap movements in favor of smoother movement. High leg lifts sapped the energy of performers; instead horn players could concentrate on playing more musically and focus more on drill, while the guard was freed up to move more like dancers, more expressively.

Drill instructor Bob Haley recalls an eventful day, probably at a St. Patrick's Day parade in 1977 in Massachusetts. As the corps was waiting to enter the parade route, they watched an African-American dance troupe performing rhythmic stomping/spinning dance routines. Some Contra Bass (Bob Haley, Pat Forker, Wayne Shivers, and others) marveled at the athletic, fun dance steps and began to imitate it. Bobby came over to watch it and filed it away in his memory.

Greg Clark (Bridgemen member in 1977-1979) said, “Bob was a great leader: charismatic, cool, hip, and smart. Bob created such a radical gem of a drum corps, with such a unique image. To be a part of the Bridgemen, with an identity like no one else had, was an absolute fantasy achieved. Bob was the spiritual leader, coordinator & drill writer of the whole thing. You could be loose and have a good time, but there was a time when we'd buckle down and work hard. ”

The 1977 show came together under Bobby's guidance. Bobby kept some of the music from 1976, but opened the show with the now-classic “Pagliacci,“ featuring the wondrous solo playing of Jim Brady. He worked in “A Tribute to Mayor Koch & the Big Apple” that pieced together some great New York showpieces to capture the flavor of the big city. The sounds of a traffic jam gave way to “New York, New York” and featured other classics like “42nd Street” and Kerchner's sultry take on “Harlem Nocturne,” featuring Jim Brady's talent.

Overall, 1977 was a BIG step up in showmanship and vaulted the Bridgemen into contention. Soprano George Lavelle, Jr. (now Executive Director of the Alumni Corps) stated, “Our horns were the number one hornline heading into finals.” Dennis Delucia's drumline was starting to turn heads and gave a preview of the breakthrough his drumline would yet achieve. The color guard brought a sexy exhuberance to the field that was vibrant. The show was a triumph despite the disappointing end to the season, as the chance for a DCI title slipped away. This made the 1977 U.O.E.C. Championship recording the must-have album for Bridgemen fans.

As the 1978 show was coming together, Bobby wanted a dance step that could be performed by the drumline and hornline during the show. He got together with his dance gurus and adapted what they had seen at the parade in MA a year earlier. This would become a hallmark visual for the corps and came to be called the “Bridgemen Shuffle.“

1978 was another achievement in corps history. “Ritual Fire Dance/Sabre Dance” was a dynamic opener, extraordinarily difficult yet played to perfection. “Harlem Nocturne” impressed everyone again with its jazzy riffs, and the sexy color guard's dance moves delighted audiences everywhere. “Spanish Dreams” was mysterious and challenging on the soprano parts. The “Cachaca” drum solo was a lively percussion masterpiece that Dennis' line made look easy. And it introduced the “Bridgemen Shuffle” which would thrill audiences for years to come. “Hymn to the Last Whale” had a sad but pretty flavor that turned dramatic with the assymetric rotation (one of the first in DCI). And the “William Tell Overture“ let loose a mammoth wall of sound, featuring a prancing hornline, for an exciting ending to an intense show.

The recruiting problems in the winter to spring of 1979 fell away as the ranks filled with members who were dedicated to showcasing the Bridgemen style. The performance at the rainy 1979 Dream Contest in Jersey City, minus pants, cemented their image as a corps out to have a good time and out to show the audience a good time. The 1979 show brought back some of the memorable music from 1978. The popular “Boogle Woogie Bugle Boy” arrived with its playful approach and dedication to having a fun time. A “Pop Culture” character made an unexpected appearance in the show. Hoffman is said to have commented, “Maybe five out of a hundred people in the stands might know an obscure classical piece, 20 out of a hundred might know a popular classical piece, maybe 50 out of a hundred will know a Glenn Miller piece, but EVERYONE knows 'Gene Gene the Dancing Machine' from 'The Gong Show.'” “The Civil War Suite” (also called “The War Between The States”) offered up a showstopper for audiences down South which, along with the corps wacky antics, helped the corps move up a few notches between prelims and finals to capture 6th place. Greg Clark points out “1979, for me personally, was the absolute cherry on top of my three years there. The 1979 Bridgemen didn't have a quarter of the talent of 1978, but had a monstrous work ethic that let us max out that drum corps experience and blow away people's negative expectations. Nobody expected us to be in finals. The pendulum of achievement of any style swings on the work ethic. That drum corps didn't let anything get in our way: we were inspired, compelled, and provoked!”

The veterans of the 1979 corps were revved up for a chance at greater glory. There was a low turnover of members in the winter of 1979-1980 and members were psyched to build the momentum. An indoor performance at the “Bill's Boys” show in early 1980 in Long Island previewed what was to come that season: the curtains parted to reveal a larger Bridgemen hornline on stage, clad in full uniforms (which had become uncommon for indoor corps shows at the time). The opening strains of the challenging “Thunder & Blazes” (the circus song) showed the audience that a revitalized Bridgemen were in pursuit of recovering lost ground.

George Lavelle, Jr. recounted Bobby's work ideal when he quoted Bobby saying, “Sure, we like to party as much as the next guy. But when it comes time to practicing, we work HARD.” The Bridgemen junior corps didn't practice as many hours as most other corps in contention for the DCI crown because Bobby wanted the Bridgemen experience to be a rich one for members and staff alike. George explained that “Hoffman's philosophy was to maximize the time the corps had together. To get the MOST out of rehearsal time, with the goal of turning out the best possible product. Only THEN could we cut loose afterward.” As the 1980 season approached, Hoffman finally had the talent level needed to make waves and had the crowd support to go far.

Bobby had seasoned talent in his horn, drum, and guard staff and the ranks were overflowing with talented performers. His drill techs, Bob Haley, Russell Morris, and Mark “Mac” MacIntire had the Bridgemen marching better than ever before in their history. The Bridgemen projected lively personalities to win over audiences wherever they went. The opener of “Thunder & Blazes” alone was worth the price of admission. It featured clowns, dancing lions and bears, and all you'd expect from a three-ring circus. Plus a “Birdie” mascot. “Pursuit of the Lady in the Feathered Hat,” drum solo, took people's breaths away with its demand and precision. This was Dennis Delucia's proving grounds with the one-handed sixteenth note runs of the snare line. Greg Clark added “Dennis Delucia proved you could have a loose style, but attacked his work ethic like a piranha!” “In The Stone” was just the smoothest thing ever played on a football field. Some watched the 1980 show and thought “How the #%@* can they dance and play so well at the same time!?” The Bridgemen redefined groove and brought funk into the mix like no other corps could. 1980 is revered as the corps' highest placement at DCI Finals, first place drumline, an amazing hornline, a sexy color guard, a more challenging drill, and an exciting show that people still rave about. The Bridgemen were a GE (General Effects) colossus that, to this day, is hailed as a breakthrough in marching entertainment. 1980 was the pinnacle of success for the Bridgemen.

At the Open House in late September 1980 (for the 1981 season), Bobby stepped up to the podium and used his signature line to get everyone's attention: “YO!“ Everyone laughed and soon settled down. He told a packed house, “It wasn't until the season was over, when we were sitting around talking, that we realized we'd only missed winning by a few tenths of a point.” That realization lit a fire beneath him and his staff, and Bobby now had his “eyes on the prize” for 1981.

Pre-season preparation for the 1981 season got underway. The first three musical selections from 1980 returned, and Bobby chose “West Side Story” for the second half of the show. Bobby was looking to “play the game” on his own terms, reasoning he could pull off a salute to this great musical, which would be without equal. The mood changes, from threatening to romantic to serious to playful were ideal to take an audience on a journey through different emotions and creative possibilities. Bobby wanted the color guard to dance more than convention dictated. The color guard put down their flags, danced, and emulated the battles between the “Sharks” and the “Jets.” But this innovation and others costed them in the judges standings and only opened the doors for other corps later. Bob Haley tells the story of how famed drill writer George Zingali (innovator for the 27th Lancers, then the Garfield Cadets in 1982) always gave Hoffman credit for inspiring him to do his revolutionary assymetric drills. “George loved Bobby's 'West Side Story' line pulls. We were getting KILLED by the judges, but Zingaili was impressed by what he saw. Zingali took it, ran with it, but he always gave credit to Bobby's influence.” 1981 DCI Finals ended with a disappointing sixth place finish for the Bridgemen. But members had a great time touring with this caravan of gypsy performers and relished their experiences that year. Sometimes the journey counts for more than the goal.

After DCI Finals, Bobby shifted gears and worked with the Sunrisers Senior Corps for the remainder of their season. It was Bobby who reworked the Sunrisers uniform that year to include rainbow colors across the left breast (instead of two orange stripes) and a rainbow cape.

With the departure of Bridgemen Director Jack Dames, Bobby now wore two hats, taking on the role of Bridgemen Director as well. At rehearsals, Bobby was still hands-on; he was actively involved in teaching & cleaning drill. One “Hoffmanism,” as he was fixing drill sets, was to say “Come forward just a smidge... a little more... NICE!” Bobby's 1982 show brought the Bridgemen back to their roots and pushed up the show appeal that the audience craved. He was less focused on winning and more focused on having the audience behind them. The color guard retired the long black coats in favor of bright silver and red costumes to grab attention and pull the audience in. The corps learned an all-new musical book, again defying convention, opening the show with the dynamic “Shaft.“ For the production number, girls danced up on large table props to showcase the fun atmosphere of “The Cotton Club” years for “Sophisticated Ladies” as the horns and drums cranked out “It Don't Mean A Thing.” The demanding and dynamic drum solo of “Black Market / The Juggler“ thrilled audiences and allowed Dennis Delucia's drumline to capture their third consecutive drum title, the first such feat in DCI history. Then the closer of “Broadway Medley” pieced together fun, familiar Broadway tunes.

Who knew that 1982 would be Bobby's swan song? At the close of the season, Bobby decided that it was time for the Bridgemen to get a new makeover. He thought it was time to retool their image and start over in order to revitalize the corps. But that vision meant dropping the popular long coats and floppy hats that many in the organization loved. He was met with fierce resistance by management. Hoffman's argument was “You're telling ME what we should look like? I DESIGNED that look!” The disagreements fractured the relationship between Bobby and management. Bobby left Bayonne, and the Bridgemen were on their own for a few years, struggling to hold on to membership at a time when other corps (like the Garfield Cadets) were seen as the movers and shakers of the activity.

The corps had no Alumni Association to speak of, membership was off, the corps charter didn't allow for some fundraising ventures, and volunteer support waned. Bridgemen veterans of years past were uninvolved with the corps, at a time when they badly needed help behind the scenes. Still, the Organization pressed on as best they could. Dave Bandy was recruited to become the new Director, show coordinator, and drill writer. Dave was a talented, driven man who wanted to see the Bridgemen improve under his leadership. Yet somehow he couldn't capture the Bridgemen magic that audiences had come to expect. Drill instructors Russell Morris and Bob Haley worked in a tribute to Bobby in the 1984 show: in one drill set, the hornline emulated Bobby's lean-back body language, capturing the classic “Hoffman strut!”

At the close of the 1984 season, the Bridgemen were no longer DCI finalists. New corps management begged Hoffman to return to Bayonne in the hopes that lightning might strike in the same place twice. Hoffman agreed to chart the Bridgemen's course again, and Bobby returned. Bobby was as charismatic as ever, with faithful followers eager to take up his creative challenges. Greg Clark (Bridgemen instructor in 1985) points out, “I tell ya, some might have thought he was the ultimate party guy: Mr. Sociable. He was, but that was only one dimension of the brother, he was 3-D. But he was also something of a loner: he'd rather just sit down with a good book. He really treasured his mind time. He could be reclusive, really in his own thoughts.” That's true of many creative types, who sometimes “need their space” to figure things out.

The 1985 Bridgemen stayed with the uniform style he pioneered back in 1976, but Hoffman came up with a clever way to give the corps a new look nonetheless. Bobby's “Christmas in July” show featured white elf costumes for the first half of the show, then the corps pulled them off simultaneously mid-show to reveal the yellow and black uniforms underneath! It was a clever, creative show and a fresh approach which the Bridgemen needed again. But the corps didn't have the horses to run this race, in competition with stronger corps. And it failed to connect with audiences on a grand scale.

Despite Bobby's creative vision, membership continued to fade and it was getting tougher to support the corps financially. The Bridgemen went inactive in 1986. Diehard Bridgemen supporters revived the corps again in 1987, surviving one more season as a junior corps, before the corps folded in the spring of 1988.

Bobby moved back West where he joined forces with the Velvet Knights (of Anaheim, CA), who had a similarly irreverent show approach, with whom Bobby was a natural fit. Greg Clark (Velvet Knights drill instructor) relates Bobby's induction into the Velvet Knights. “In the Spring of 1987, I got a frantic call from the color guard coordinator who wanted the drill, in its entirety, rewritten FAST. In no short order, Bob came out to V.K. from Colorado and worked non-stop, relentlessly. Bob walked in, seized the moment, and said 'We'll make that Mustang a Mazerrati.' His personality, good vibes, and resume turned a barely-getting-into-finals corps into a fire-breathing dragon! Watching them that night, after three weeks of Bob's HEAT and new drill, was the most incredible opening night experience of my life.”

Charlie Groh (Velvet Knights instructor) added “Bob was a master at psychology. He'd tell me 'Look I'm going to get pissed today. Today, it's going to be switch ON!' Then Bob would flame-on in a rehearsal to get everyone jacked up. It was like there was 100 milligrams of straight adrenaline running through him! He might not have done it often, but when he did, he lit us up and it was awesome.”

Bobby continued his approach to juicing a show for all the entertainment value possible, while working with a strong corps that was on the rise and willing to take risks to change the face of drum corps. The corps' “Magical Mystery Tour” years were a hit with audiences wherever they went. With V.K., Bobby had a few more years in the limelight. The Velvet Knights were now carrying the torch the Bridgemen had begun years before. Even if Bobby didn't have the reins of command, he was in his element with a popular corps that was out to push the envelope. He worked with V.K. through 1988, then returned in 1990 for one more season. The Velvet Knights were loveable crowd favorites and enjoyed a good run as finalists for a good stretch of years. V.K. closed its doors after the 1996 season and are still missed to this day.

Bobby had other creative outlets besides drum corps and marching bands. With his love of stage theater, Bobby had cultivated friendships with many theater celebrities and was brought in to consult with many performance theaters in his last years.

Bobby Hoffman was inducted into the DCI Hall of Fame ceremony at DCI Finals in Buffalo, NY in August of 1990. Bobby stood before tens of thousands and received this wonderful accolade, joining the ranks of so many other outstanding achievers in the activity. It was a fitting tribute to a man who had sacrificed so much to revolutionize entertainment for both marching performers and fans alike.

While Bobby lived in Jersey City, NJ, he was teaching North Penn's marching band. Bobby's closest friends were with him as his health was deteriorating, and he was invited into the home of his long-time friend Mike “Merk” Mercodante (and Merk's wife) when he could no longer take care of himself. Greg Clark commented, “Now Merk: I've never seen anybody sacrifice as much, or give of themselves so totally and selflessly, as what Merk did for Bob in the twilight of Bob's life. Merk set up a sanctuary of dignity for Bob long before he couldn't take care of himself any longer: a home on Long Beach Island, a block from the ocean. It was killer for Bob and any of his friends & family that came to see him. No convalescent home/hospice could ever give somebody the love, care, support system & positively uplifting aesthetic experience Bob had, compliments of Michael Mercodante!! Man, makes me wired just thinking about the level of sacrifice & just plain loving goodness that Merk displayed. That's a performance worth exclaiming to the high heavens!” His friends, Merk, Greg Clark, and Bob Haley remember celebrating his birthday with him in the autumn of 1990. Bobby was very ill, suffering from dementia, but the celebration continued into the night even after Bobby fell asleep. Greg Clark recalls, “Knowing the end is coming can also be defining moments in one's life. Bob cherished life and his last days weren't as sad as they might have been otherwise. I mean, you hate to see someone hurting, but even in the waning moments, Bob could wield a one-liner that could knock you down! He had a lot of life in him and made one-liners out of some of the last, toughest moments. His last days were a celebration so many times more than it was a bummer. ” Sadly, Bobby's battle with his debilitating illness was one he could not conquer, and he passed away in January of 1991.

Years later, the Bridgemen Organization reformed in the 21st Century and launched their first Alumni corps rehearsal in October of 2004 to bring back a beloved group of performers who wanted to reconnect with each other and with audiences. It was Executive Director George Lavelle's goal to recreate the new Bridgemen in the model of a magical time, when their outrageous show style was the talk of drum corps.

Bobby Hoffman's influence is still with us as they endeavor to recapture the showmanship and the inner city “Bridgemen attitude” that endeared them to audiences. He was a visionary who brought the Bridgemen to a new level of popularity across North America and even overseas. The fact that the 1980 Bridgemen were voted into the DCI Classic Countdown of 2006 and 2007, is a testament to how entertaining the Bridgemen junior corps were.

Bobby's memory lives on, every time Bridgemen Alumni gather for rehearsals or put on his wild uniform to perform for an audience. They are his legacy. And Bobby's determination to entertain at all costs, lives on in each one of us.

"Hype!"

– Jim Reilly

Trivia
Q: What did Bobby Hoffman's tattoo say?
A: Bobby's tattoo showed two cherries and said “Here's mine. Where's yours?”