VEER Magazine June 15, 2023

Summer Music

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Distorting History

By Tom Robotham

Last month, Florida Governor Ron DeSantis signed a bill banning public-college courses that “distort” historical events. When I read this news, I couldn’t help noting the irony. The American South, after all, has a very long track record of distorting history.

This became especially clear to me when I moved to Norfolk in 1991, and mentioned to a neighbor that I had just published an illustrated history of the Civil War.

“ I hope you made it clear that the war was never about slavery,” my neighbor said.

The fact is, the conflict was entirely about that issue. Southern leaders during the Civil War era made no bones about this. Mississippi’s declaration of secession, for example, asserts: “Our position is thoroughly identified with the institution of slavery.” (Emphasis added.) The declarations by other Southern states are equally forthright.

You can’t get much clearer than that. And yet, in spite of this, generations of Southerners from the late 19th century through the mid-20th were taught that slavery was a non-issue and that slaves were actually happy until Northern troublemakers started putting crazy ideas in their heads.

Not that distortions of history were limited to the South. As a child growing up in New York, I was presented with a slightly more accurate view of the Civil War, but I was nevertheless conditioned to believe that our “ Founding Fathers” were flawless demigods and that our nation’s history is a story of pure and virtuous triumph in the name of freedom.

I credit my father for guiding me as I grew older into a more nuanced way of thinking—and after him, various professors who deepened my understanding of our nation’s complexities and contradictions. In time, I came to recognize the dangers of oversimplifying history from any perspective. Thus, the tendency of some on today’s left to dismiss Abraham Lincoln as a “ racist ” is as troubling to me as Gone with the Wind is. The former view judges Lincoln’s 19 th century opinions by 21st century standards, while the latter—which had a big impact on Southerners’ sense of history—utterly ignores the horrors of slavery. (For more on the latter, see Melvin B. Tolson’s seminal 1939 essay, “Gone with the Wind is More Dangerous than Birth of a Nation.”)

THIS SPRING, while teaching a course called Perspectives in American Studies, I did my best to encourage students to grapple with all of this.

The course was organized around various themes in American Studies, an interdisciplinary approach to examining our nation’s history and culture. Among the themes were Nature in the “New World,” Religious Diversity, Individualism and Community, Violence in America, the Immigrant Experience, and, of course, our Racial Divide.

I continually emphasized the fact that many

of these themes are interrelated—how, for example, nature and religion became intertwined in the thought of Ralph Waldo Emerson, and how the myth of “rugged individualism” grew out of a romantic reimagining of the frontier experience.

Presumably, DeSantis would have been OK with most of this material, although he would probably object to my characterization of “ rugged individualism” as a myth. My response is that labeling it as such isn’t a smear. It ’s simply an acknowledgment that the idea of rugged individualism—emphasized in tales about Daniel Boone and young Abe Lincoln, for instance, not mention countless movies, from Shane to Rambo—has long been an integral part of our national narrative and that its effects on our society have been profound. Alexis de Tocqueville—whose book Democracy in America remains remarkably timely 188 years after it was written—believed, for example, that Americans’ love of individualism might eventually erode a sense of community in this country. That this has come to pass seems indisputable to me. (See “ In Search of Excellence,” my essay that appeared last month in this space.) At any rate, calling it a myth is not a new idea. In the 1950s, for example, historian Daniel Boorstin underscored the extent to which the role of individualism in the settling of the frontier had been exaggerated and that group cooperation had been key to the process.

Had DeSantis monitored my class, however, he almost certainly would have objected to my unit on race in America. Among the assigned readings were two essays from the 1619 Project, an examination of American history through the lens of the Black American experience. We also screened and discussed Ava DuVernay’ s brilliant documentary 13th , which illustrates with stunning clarity the validity of Critical Race Theory, a term that ’s widely used but poorly understood. CRT is based on the idea that racism isn’t just a matter of individual bigotry but is baked into our institutions. DuVernay’ s film exemplifies this fact by examining the consequences of a loophole in the Thirteenth Amendment, which abolished slavery “except as a punishment for crime…” It explains how, during the Jim Crow era, Black men were routinely arrested for such “crimes” as “ loitering,” then imprisoned and put to work as a way of keeping them “in their place” and shoring up an economy that had long relied on slave labor. More importantly, it shows how this racial discrimination has persisted through the “ war on drugs” and the explosive growth of the prison-industrial complex, which for years has provided labor to many American corporations.

I don’t know how any thoughtful person could read these essays or watch this film and

fail to see the reality that racism remains systemic in our country.

That said, it’s not my job to tell students what to think. Rather, it ’s my responsibility to encourage them to think for themselves. Thus, regardless of the topic at hand, I ask them to share their reactions to an assigned text or film—then challenge them with follow-up questions. In our discussion of a book called Strain of Violence, for instance, which examines the history of vigilantism and mob violence in America, I asked them to consider the January 6th insurrection in the context of the book.

“I think the Democrats wanted that to happen,” one student blurted out. My initial thought was, so you ’re a fan of Tucker Carlson? But I didn’t say that. I simply asked him what evidence he had for his assertion. He had none, of course. It was just something he had heard. At that point, I reminded the class of the importance of evaluating sources and seeking facts, rather than just accepting claims.

MIGHT ANOTHER PROFESSOR handle discussions differently? Quite likely so. Each of us sees the world through our own lens—and one could therefore argue that all historical narratives are “distorted” to some degree. The best we can do is strive for truth, based on thoughtful consideration of the evidence.

At the end of the course, I asked students to reflect on our wide-ranging examination of the American experience. They’d seen evidence of this country at its best and its worst. My own view, which most students seemed to share, is that a good citizen must try, continually, to see the whole story in historical context—the good, the bad and the ugly—just as a good person takes stock of his or her strengths, while also owning up to flaws and resolving to work on them.

People like DeSantis, by contrast, argue that if students are exposed to the whole story, they will begin to hate America. In other words, they favor the kind of “ history” that is taught in totalitarian regimes.

As someone who has been studying and reflecting upon our national history and culture for 50 years, I have more faith in the process than DeSantis appears to. Yes, my immersion in the subject has forced me to confront grim realities, from the Trail of Tears to the practice of lynching (the subject of my master’s thesis) to the lies that were told to justify wars in Vietnam and Iraq. But it has also exposed me to stories that exemplify the glorious possibilities of the American experiment, from the drafting of the Declaration of Independence to the Stonewall uprising. Indeed, I don’t know how one can read the essays of John Muir, visit a National Park, watch old film clips of Jackie Robinson, listen to the music of Duke Ellington, or screen any documentary by Ken Burns and not feel a sense of fascination with our history and hope for the future. My sense of hope only begins to flag when people like DeSantis promote ignorance. Then again, when he does, it only strengthens my desire to continue doing what I do—and to try to do it better.

Tom Robotham, Diane Catanzaro, Chris Jones, Jerome Langston, Marisa Marsey, Jim Morrison, Montague Gammon III, Betsy DiJulio and Jim Roberts, Kate Mattingly, Joel Rubin, Mark Edward Atkinson CONTRIBUTING

Brenda Mihalko, Giorgio Valentini

Veer is published by Veer Magazine, Inc. on the 15th of each month and is free of charge. Veer may be distributed by authorized distributors only. Veer assumes no responsibility for unsolicited manuscripts or artwork.

The views and opinions expressed are those of the writers and not necessarily of Veer Magazine.

Pride Month Brew Tour

COVA Brewing Co.

June 15

New Realm Brewing Co.

June 16

Elation Brewing

June 17

Virginia Beer Company

June 18

Three Notch’d Brewing

June 22

Garage Brewing

June 30

June2023EventCalendar

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www.hamptonroadspride.org

Pride Month Events

Smartmouth Break Free Dance Party

June 15

Virginia Beach Sportsplex

June 16

Phabulous Phoebus Street Festival

June 17

Wave Dance Party

June 17

Ghent Pride

June 20

Pride at The Chrysler

June 21

10th Annual “Studio 54” Block Party

June 23

35th Annual PrideFest 2023

June 24

Pridefest Official After Party

June 24

3rd Annual Pride at the Beach

Ghent – One of the 2018 Great Neighborhoods named

Association. With its unique blend

and professional services, Ghent is truly

from locally owned businesses, not only supports

it also supports your friends, neighbors, and the community as a whole.

GRC and TWBW Offer Lessons in How Non-Profits Can Help Each Other

By Joel Rubin

A canoe and a Bevin’s Skiff look remarkably alike, but you row a skiff, you paddle a canoe.

So says Tom Brandl, US Naval Academy grad, retired Marine Colonel, eight consecutive year summer student at a renowned boatbuilding school in Brooklin, Maine and since 2014, the full-time director and principal instructor at his own hands-on academy, the Tidewater Wooden Boat Workshop (TWBW).

Tom and his volunteers teach craftmanship in warehouse space donated by Norfolk Redevelopment and Housing Authority off Ballentine Boulevard in Norfolk, but the colonel and his crew of mostly ex-sailors and Marines will go almost anywhere in the region where there are students hungry to get their hands and heads into a challenging project.

Like at Green Run Collegiate, the public charter located inside Green Run High in Virginia Beach. GRC ’s courses are based on the International Baccalaureate model, but the main draw for its student body, drawn from all income levels and neighborhoods, is exposure to innovation. Take teacher Amelia LeCroy, six years out of JMU with a BFA in graphic design. Art is one passion of hers, the other is providing her kids rich experiences.

“ I developed my own Design Technology curriculum,” says LeCroy. “ It involves visual literacy, problem solving, design process exploration, color psychology and creative thinking.” Enter TWBW with a well-honed program to take pine, oak and marine plywood to fashion a Bevin’s Skiff. “ They taught our students how to use bandsaws, drills, hammers and other tools to measure, cut and sand the wood.”

In Room 305 at GRC, the work commenced in 2020, then stopped due to the pandemic.

This year’s frosh and sophs picked up where their seniors left off, completing the task in time for a christening, naming (Big Blue beat out Boaty McBoatface and Ding Dong Texas) and

lastly a launch in picturesque Stumpy Lake. Two by two, the budding boat builders joined Brandl to take the skiff for a spin.

“I love hands-on activities so this was perfect for me,” said Sarah Calpo. “I enjoy woodworking and being able to do it at school was great,” added Luke Weihert. “I helped put the transom together and painted the bottom,” noted Breanna Rice. Big Blue naturally wobbled as the GRC’ers climbed aboard, but it stayed afloat fine, no leaks. “Some skiffs remain with the people who built them, while some are sold or auctioned,” says TWBW volunteer Bill McEvoy. GRC may do just that at its annual fund raising gala next spring, which might upset some of the young builders, but hey, they now can construct another, and another, thanks to Brandl’s band of brothers.

TWBW (www.twbw.org ) is a non-profit too, with a focus on imparting STEM and life skills to a mostly disadvantaged audience through nautical activities. “ There is no cost to families,” says Brandl, a Virginia Beach resident, “and we will shift schedules to meet the needs of our learners.” What they glean is not just a capability in carpentry but also lessons in math, teamwork, communication, planning and organization.”

No wonder Amelia LeCroy jumped at the chance to bring TWBW over from Norfolk. Financial help came from the GRC Foundation. “ We raise money to give our students unique, hands-on experiences like building boats,” says Joe Burnsworth, a former VB principal who until recently chaired the Foundation board. “ We want them to have a well-rounded education, inside and outside the classroom.”

The proof of that was on display on a pristine afternoon on Stumpy Lake, where the students showed off the result of their efforts. In a water hearty community like ours, the ability to execute the assembly of your own boat is not a bad aptitude to have.

The Virginia Arts Festival Honors a Norfolk Jewel: Elbert Watson

By Kate Mattingly

When the Virginia Arts Festival (VAF) began in 1997, two things were different: it was called the Virginia Waterfront International Arts Festival and there were some haters.

Anytime an international festival is established in a community, there are locals who view the importing of performances by global artists as either taking away from local venues or competing with local artists. In actuality, the VAF has a four-prong mission: it’s committed not only to hosting “ worldclass performing arts,” but also to educating students, commissioning artists, and making “a tangible difference in Hampton Roads through regional partnerships and cultural tourism.”

The VAF boosts income in the Hampton Roads region as well as the state. The 1998 festival brought more than $5.6 million in spending to the region and $5.2 million to the state. The 2023 festival is estimated to bring in more than $25 million. This income benefits local venues which host festival events that enrich and amaze audience members. Artists presented by the festival include Alvin Ailey American Dance Theater and Philadelphia Ballet, as well as musicians like Yo-Yo Ma and singers like Renée Fleming.

Robert W. Cross, VAF ’s founder as well as its Executive Director and Perry Artistic Director, says that honoring local artists is also a vital part of the festival. “ There are many incredible artists who are either natives of Hampton Roads, or who have made their careers here. These people have not only made a huge difference in this region, but they ’ re also nationally, and, in some cases, internationally recognized.” Cross established the Ovation Award in 2019 to acknowledge these extraordinary individuals: its first recipient was dancer and teacher Lorraine Graves, and its second recipient, in 2022, was music director and conductor Rob Fisher.

Cross emphasizes how these artists have “ had a big impact,” meaning they have transformed the landscape of the art forms they pursued. “And I think we need to be honoring our own,” he adds. When Cross designs a ceremony for the annual Ovation Award recipient, he not only invites their colleagues and

students, but also some of their own local teachers.

This year, on April 29, the Ovation Award recipient was Elbert Watson, who grew up in Norfolk, attended Booker T. Washington High School, and went on to become a principal dancer with Alvin Ailey American Dance Theater (AAADT), as well as a choreographer and beloved teacher. His ceremony

included a speech by Matthew Rushing, who danced with AAADT and now serves as the company ’s associate artistic director. Rushing was in Norfolk while AAADT performed at Chrysler Hall, and spoke about the indelible impression Watson made when Rushing watched recordings of his performances. This is exceptional praise coming from such an esteemed artist.

In 1984, Watson joined the faculty of Norfolk Academy and developed far-reaching dance and conditioning programs. Ballet dancer Lauren Sinclair met Elbert in 2006, during a moment in her career when she was losing her love of dancing. She remembers her first class with him at Norfolk Academy, an evening class for dancers who range in age from upper teens to 70s and who hear about Watson through friends (he does not advertise). “ I immediately felt his warmth and support,” Lauren says. “ He’s just so genuine.”   Lauren was dancing with a company at the time and went to Watson for classes and coaching. “ He really helped me find my way, ‘the Lauren way,’ of dancing. He does this for all of his students. He’s good at finding how a step works best on your body and for your mindset. I was a dancer who didn’t breathe often enough, so he would choreograph when I should inhale and exhale. To me, working with Elbert felt safe: he holds space for people. If you’re having a bad day, he’s going to let you cry and be frustrated. If you’re having a great day, he’s going to celebrate with you.” While this kind of encouragement may sound obvious, in some ballet classes, teachers do not allow students to show feelings, especially frustration. Lauren adds, “ He took me under his wing, guided me, and encouraged me.”

Today, as a teacher at Old Dominion University, Lauren shares the knowledge and support she received from Watson with future generations of dancers. Her classes are distinguished by her warmth and care, as well as her deep knowledge of ballet: just as Watson did for her, Lauren finds ways for each dancer to excel. “ He’s kind of like a secret,” she adds, explaining the no-advertising approach. “ It’s a well-known secret,” she says laughing.

“ I don’t really remember details of that first class. It’s blurry after that many years, but I still have an email I sent my then-boyfriend, now-husband that said, ‘I haven’t had a class like that in years! It was inspiring, motivating, and he just really made me want to dance... at least now I know that I want to keep dancing!’”

Asked what distinguishes Watson as a teacher, Lauren says, “ He always teaches his students that everyone wears many hats. A lot of times we think we are on the dance track and we only can wear the dance hat. For me, he said, ‘ You can be a mom, you can be a wife. You can read, you can go to the beach, you could go to church. You can take a break from dance and dance will always be there for you when you return.’”

Elbert Watson (center) in a photo by Jack Mitchell. “ Three Black Kings”: Dudley Williams as Martin Luther King, Jr., Elbert Watson as Balthazar and Clive Thompson as King Solomon dance in Alvin Ailey’s paean to the three historic figures. The work was set to the last music composed by Duke Ellington.

This ability to pursue multiple paths reflects Watson’s own career: he not only danced with Alvin Ailey American Dance Theater, but also performed in the choreopoem “ Boogie Woogie Landscapes” by Ntozake Shange, who wrote “For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf.” This play was choreographed by Dianne McIntyre and performed at Symphony Space in 1979. That same year, Watson appeared at Carnegie Hall as guest dancer with the Pearl Primus Afro/American Dance Company. Primus, McIntyre, and Shange are giants in the history of dance and performance. Since their dances live on in the bodies of artists who performed their choreography, Watson is a walking encyclopedia of dance history.

As a member of AAADT, he performed classic repertory by Ailey, such as “ Night Creature” and “ Revelations.” He was frequently singled out for exceptional performances by critics in the New York Times.

In 1976, Clive Barnes wrote about Ailey’ s “ Three Black Kings:” “The ceremonial of the magi, played well by Elbert Watson, had its stately grace.” He also performed choreography by Janet Collins, the first Black dancer to perform at the Metropolitan Opera, when AAADT commissioned her to create choreograph “Cantina of the Elements” in 1974. In a New York Times review Watson is complimented as being part of “an attractive earth trio,” with Warren Spears and Donna Wood.

As a choreographer, Watson won accolades from New York Times critic Anna Kisselgoff, who named his piece “ Reins” one of the “ best” pieces on a 1977 program and one that “elicited the most enthusiastic audience response.” The review continues: “ In ‘Reins,’ Mr. Watson used a line from Yevtushenko (‘Hurry is the curse of our century’ ), to suggest a range of human relations within a mock race. The movement was often vivid and Mr. Watson has a flair for working with groups.”

Lauren continues listing the attributes that make Watson special: “ His lessons go beyond the dance class. They are life lessons. For example, he taught me how to say, ‘No.’ I would get offered a teaching or performing job and he would say, ‘Do you really want that? ’ And I’d say, ‘No.’ And he told me, ‘ Well, you can say no, and you don’t have to tell them why you’re saying no.’” As trite as this may sound, dancers in ballet, especially female dancers, are frequently taught their skills are replaceable, and everyone is expendable. Watson defies this approach by reminding every student of their value.

Norfolk, a relatively tiny city, is home to

many great dance programs, but the dance landscape is mired by one-upmanship: for decades, one school claimed it offered “ Hampton Roads’ premier pre-professional dance training program,” and seemed to equate teaching ballet and Hawkins-based modern dance with being the “ best.” When dance teachers are reluctant to honor a variety of dance styles, or to highlight the assets that exist in every program and to be open to feedback, students suffer. By developing a multifaceted and interdisciplinary program at Norfolk Academy, Watson has been able to amplify the richness of a wide spectrum of dance genres. And it’s a spectrum that he embodies.

It’s also an approach that aligns with Virginia Arts Festival ’s music programming: many genres are presented, and this encourages cross-pollination of audiences and artists. For dance audiences, the festival tends to present mostly ballet companies and modern companies led by white men like Mark Morris and Richard Allston who make ballet-based dances. As a result, audiences miss out on dance-theater, choreopoems, and contemporary approaches. We only see a tiny sliver of the dancing that exists in our world, and that Watson himself has created and performed. And schools tend to think they are “premier ” if they emphasize ballet.

While the festival has made “a tangible difference in Hampton Roads” economically, its impact on dancers and dance audiences could be seen as less enriching. Watson exemplifies the value of honoring multiple techniques and exploring different approaches to dance-making. Companies that have never been presented by VAF, and who could tap into the hip hop, contemporary dance, and universities of Hampton Roads, include Yin Yue/YYDC, LaTasha Barnes/The Jazz Continuum, Compagnie Hervé Koubi, Rosie Herrera Dance Theatre, Camille A. Brown & Dancers, SOLE Defined Percussive Dance, and IllAbilities. Presenting a range of dance artists makes it possible for younger dancers to see themselves in their movement and messages.

As Lauren explains: “Elbert doesn’t try to change who he is to please others, which is why I think he’s had such a successful career in teaching. He’s authentically himself and that’s what he wants for everyone he meets. A lot of times, I have felt pressure to mold into what’s in or hip. He’s always followed his own path. And he continually pushes himself in ways that make him grow. He’s simply a great person. I’m not only a better dancer because of him, I’m a better person because of Elbert.”

Dickie Harrell Heads to Rock-n-Roll Heaven

By Jeff Maisey

Dickie Harrell, a lifelong resident of Portsmouth and original member of Rock & Roll Hall of Fame inducted Gene Vincent & His Blue Caps, passed away May 31 at the age of 82. Tributes from around the world flooded his Facebook page as news spread.

Brian Setzer of Stray Cats posted, “Dickie Harrell has passed away. He was in the original Blue Caps and was the drummer on “Be-Bop-A-Lula,” the best rock-n-roll song of all time. He also played on dozens of other classic rock-n-roll tracks. Dickie Harrell and Slim Jim Phantom are my favorite rockn-roll drummers. Rest in peace, my friend.”

Deke Dickerson, regarded by many as one of the best guitarists in America, shared this memory: “I was lucky to be friends with Dickie going back several decades. I met him for the first time when the Blue Caps came out to California in the 1990s and played some shows. At that time, quite a few of the original Blue Caps were still alive and performing, and it was an absolute treasure to see the Caps play a show. The first time I ever booked a show in Norfolk, Vir-

ginia, where Gene and the Blue Caps were from, I was floored when Dickie and his wife Donna came out to our show, and Dickie sat in on drums with my band! Over the years we became good friends, seeing him at shows in Virginia, talking to him on the phone, and communication on Facebook. I talked to him on the phone recently for over an hour, and he was the same ol’ Dickie, talking about music, asking me when I was coming back to Virginia to play…I will miss hearing that unique Tidewater Virginia accent coming out of the phone.”

During a 2022 interview with Veer Magazine, Dickie Harrell — always the storyteller — shared this about country music and the song “Be-Bop-A-Lula,” which was an influence on everyone from The Beatles, Bob Dylan, and Led Zeppelin to The Stray Cats and Hampton Roads’ own Lucky 757.

“When Gene was over there at the Portsmouth Naval Hospital, he and the guy in the bed next to Gene’s sat there and wrote ‘BeBop-A-Lula,’” said Dickie Harrell, who joined the band at age 15.

According to Harrell, the song was originally a slow, twangy country song.

Gene Vincent had performed at a local talent show and caught the eye of Sheriff Tex Davis (real name Bill Beauregard Davis), the flamboyant station manager at AM radio country music station WCMS. Davis worked on getting Vincent a recording deal with Capital Records. He also bought half the rights to “Be-Bop-ALula” and listed himself as co-writer.

When Gene Vincent was called to record the song in Nashville, he contacted a few of his acquaintances in Portsmouth to play the music.

“I was in the office when Bill (Tex Davis) was on the phone saying we were ready to

come out and do the recording session,” Harrell said. “Ken Nelson (record label producer) told Bill, ‘I want Gene but I don’t need the band ‘cause I’ve got the best musicians in the world,’ which he did at the time in Nashville.”

Davis talked the record company into giving The Blue Caps members a chance.

“Ken told him, ‘You can bring ‘em, but if they don’t click they’re gone.’”

When Gene Vincent & His Blue Caps hit the studio, the new version of “Be-Bop-ALula” was not the country ballad the head of Capital Records’ country division was anticipating. But to everyone’s relief, he loved the upbeat, transformative song it became.

“He was tickled with Cliff ’s (Gallup) guitar playing,” said Harrell. “He told Bill, ‘Man, that won’t on the tape you sent me.’”

“ That’s when ‘Be-Bop’ was born,” said Harrell.

Gene Vincent & His Blue Caps’ affiliation with Tex Davis got them on multi-band concert bills with country music acts. In those days, radio stations were the primary concert promoters.

Promoters, though, weren’t sure at first how to classify the band.

“ When we first started they’d didn’t know where the hell to put us,” Harrell recalled. “They didn’t know what kind of music we were. Our music wasn’t pop, it wasn’t rock, and it really wasn’t rockabilly. So they put us on this short tour with George Jones, Johnny Cash, Warren Smith, and Roy Orbison.

“

When you’re on a tour like that, you sit back stage and watch what you’re up against. At that time, you have to remember, country music was THE thing. What we and Elvis did was all new to people. The public had never seen anything like us.

“

After we came off the stage, George Jones and Johnny Cash looked at Gene and said, ‘What kind of damn music do you all play?

“Johnny said, ‘How’d you all get on this tour? You all aren’t country. He (Cash) told Gene, ‘That boy needs help,’ and he was talking about me.”

The Story of The Dome Is a Must-See

By Jeff Maisey

With “That Was Our Room: The Life & Times of the Dome,” Norfolk-based documentarian Paul Unger hones-in his skills as a storyteller.

Unger, whose credits include “Hardcore Norfolk: The Movie,” is keen to set the stage with archival television footage and imagery brilliantly woven together. He digs deep in providing historical insights into the development of Virginia Beach as a resort and growing suburban landscape in the post World War II America, a boom time with a Baby Boomer generation seeking to leave urban areas for the good life of the suburbs, and families taking vacations en mass.

The space-age, futuristic look Dome was built in 1957 and was used for a variety of purposes including a concert venue. All the up-and-coming entertainers of the day performed in concert including The Rolling Stones, Jimi Hendrix Experience, Ray Charles, The Who, Black Sabbath, Patsy Cline, Frank Zappa, and countless others.

Throughout the documentary, Unger shows the viewer rare photographs of many of the performers and nicely integrates new video interview footage of local musicians, city historians, promoters like Gene Loving, concert-goers, former stagehands, record store owners, and others to tell the story.

The film will be shown free of charge on the following dates: June 12 at The Bunker Brewpub (7:30 PM), The Shack on 8th on June 20 (7:30 PM), and The Vanguard on June 29 (8 PM). All are free admission.

Here’s a brief Q&A we did with filmmaker Paul Unger for additional insights.

VEER: When/how did idea come to you to produce the documentary on The Dome?

Unger: About 10 years ago Barry Friedman, owner of Birdland Records, told me that Jimi

Hendrix played in Virginia Beach — twice. Immediately I asked him “Where was this?” When he told me “The Dome,” I had this ongoing curiosity about the Dome and its history. My fascination with the place just grew and grew from there. I was so interested in the old Dome parking lot where it once stood before it was demolished almost became ‘sacred ’ ground to me.

VEER: How long did it take to complete?

Unger: Originally, this whole documentary started simply as a 10 minute video piece about the Hendrix performances at the Dome and it would accompany an article I was going to write for the Hardcore Norfolk website. Well, that was in 2019. I just kept editing more and doing more research as time went about this so-called civic-center, it just kept on extending the time period to the point it became clear: The Dome, this geodesic structure, became the main character; the before, during and after of its existence, the story had to be told.

In August 2022, my mother passed away from cancer. After a few weeks of me grieving about her death, this documentary about the Dome sort of became my way of dealing with the whole loss, or perhaps distracting me from feeling depressed or whatever about her being gone, keeping myself occupied and productive with something, enabling me to move on more. Also, I knew she would want me to finish it, so I kept working at it a great deal more.

I recall calling my friend (and co-producer of this film) Brian Diederich, about two months ago last April, informing him that a full complete final-cut of the documentary was ready. A little polishing here and there but overall… the project was done. It was like a breath of fresh air when that happened, realizing this film had started four years ago and finally was completed.

VEER: What did you learn about the process from “Hardcore Norfolk: The Movie” that helped you with the new one?

Unger: The “Hardcore Norfolk” movie taught me a great deal about myself as being not just an editor, but also being a good storyteller of actual historical events, and being as accurate as possible. I also learned about the important relationships and teamwork that come along with making a film. Codirectors Andrea Rizzo and Debra Persons were great to work with, not to mention all the people that cared to contribute and help us with that film; great times. I used to always tell Deb and Andrea while we were making that movie, “ Think of what we ’re doing as creating something that captures a moment in time, that will always be there, even after we’re long gone.” I think that line might have encouraged them (laughs), not sure, but we finished it eventually, so I guess it worked.

I think also the “Hardcore Norfolk” movie helped me realize that sometimes certain details in a documentary film are not pleasant. The truth is sad sometimes, of course, but if something sad or controversial has a direct effect on what your documentary is about in some way, what you’ re trying to reach across to your audience, it must be included. Yet, all scenes must be presented and edited in a certain way that makes sense to the viewers. Take for instance the death of someone, or the end of something special, as change is always inevitable with anything in life. “ Yes” some things are hard to talk about, much less watch in a film, but those details are significant to tell the accurate history or story your covering about the main subject in your film. You’re making a documentary, not a sales video to appease certain people. Just be true to your film, yourself and your audience watching it and the whole thing will play out how it was meant to be.

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This all-day, outdoor festival on the beach makes its debut with an exciting mix of established headliners including Mirada Lambert, Thomas Rhett and Luke Bryan as well as a healthy helping of Nashville’s next-bigthings. Read our preview interview with Alana Springsteen on page 34.

3

40th Annual Norfolk Waterfront Jazz Festival

August 18-19

Town Point Park, Norfolk

If smooth jazz is your thing then this 2-night outdoor festival on the Elizabeth River will surely delight with some of the genre’s finest recording artists. Check out the lineup and go to the show.

Friday, August 18: Gerald Albright, Keiko Matsui, and Kim Waters/Kayla Waters.

Saturday, August 19: Dave Koz w/Eric Darius, Candy Dulfer & Maysa Leak, Jazz Funk Soul, and Kandace Springs.

4 Tears For Fears

July 7

Top 40 Concerts of Summer

By Staff

Nine-time Grammy nominated smooth jazz saxophonist Dave Koz recently told Veer Magazine the summer of 2023 will mark the true, post-pandemic return to form for the concert industry.

We couldn’t agree more looking at the region-wide schedule across the spectrum of indoor and outdoor venues and music-specific festivals.

Following is our staff picks for the Top 40 Concerts of Summer. As with any list, feel free to agree or disagree. Everyone no doubt has their favorites and strong dislikes.

The main thing is we want readers to be encouraged to get off the couch and leap back into the habit of experiencing live music in-person. Turn off the Zoom, forget streaming, and live in the moment.

Enjoy the show.

1

53rd Annual Hampton Jazz Festival

June 23-25

Hampton Coliseum

The region’s oldest music festival returns after a 3-year hiatus due to the pandemic and the lineup of entertainers — picked by fans of the fest — is stellar.

Friday, June 23: Anthony Hamilton, Trombone Shorty, Stephanie Mills, and Jonathan Butler.

Saturday, June 24: Charlie Wilson, Chris Botti, Avery Sunshine, and The Chuck Brown Band.

Sunday, June 25: Fantasia, Babyface, Kenny G, and Peter White.

Beach It Country Music Festival

June 23-25

On the beach between 3rd Street and 7th Street

Veterans Home Loans Amphitheater @ Virginia Beach

The beloved British new wave/pop duo is back together and on the road with all of their greatest hits including “Shout” and “Everybody Wants to Rule The World.”

5

The Doobie Brothers

July 3

Atlantic Union Bank Pavilion

If you attended this 50th anniversary tour concert you know how great it was. The experience should be just as good at the “smaller amphitheater in Portsmouth. Expects the hits — “Minute By Minute,” “Taking It To The Streets,” “China Grove,” “Black Water” — as well as several deep cut for diehard fans. Read our complete concert preview on page 32

6

Snoop Dogg, Wiz Khalifa & Too Short

August 5

Veterans Home Loans Amphitheater @ Virginia Beach

A great night of hip hop with arguably the most beloved performer headlining in Snoop Dogg. Expect performances of “Drop It Like It’s Hot” and “Who Am I? (What’s My Name?)”

7

Chris Stapleton

July 14

Veterans Home Loans Amphitheater @ Virginia Beach

The country music sensation is always a solid live performer. Listen for all your favorite tunes like “Tennessee Whiskey” and “You Should Probably Leave.” Stay for the whole show, though.

8

Erykah Badu

July 12

Chartway Arena @ ODU

The Queen of Neo-Soul returns to the 757 with her blend of R&B, hip hop, and soul.

9

Rob Zombie & Alice Cooper w/Ministry

August 30

Veterans Home Loans Amphitheater @ Virginia Beach

Two of hard rock’s most theatrical, horror show themed acts hit the road again for a great billing, a spectacle for the ears and eyes. Shock rocker Alice Cooper, of course, comes with an arsenal of hit songs such as “School’s Out,” “I’m 18,” and “Billion Dollar Babies.” Industrial rock act Ministry will open.

(continued on page 24)

Neo-soul crooner Anthony Hamilton headlines the opening night of Hampton Jazz Festival

Snoop Dogg

PORTSMOUTH, VIRGINIA

10

50 Cent, Busta Rhymes & Jeremih

August 13

Veterans Home Loans Amphitheater @ Virginia Beach

The bill features two giants of hip hop in Busta Rhymes and 50 Cent. Both had their heyday, and yet they still bring it live in concert. Expects 50 to dive deep into material from “Get Rich or Die Tryin’” while Busta speed-raps with “Turn It Up/Fire It Up” and “Gimme Some More.”

11

X with Squirrel Nut Zippers

June 28

Elevation 27

The legendary punk rock band from Los Angeles returns to the 757 with some new material and the old fan favorites for an intimate concert of full-on energy. Read our full-strength preview on page 30.

12 Masters of the Mic

August 18

Atlantic Union Bank Pavilion

The bill features hip hop legends Doug E. Fresh, EPMD, Rakim, KRS-One, and Slick Rick. Want a music education? Check out this

must-see show of some of hip hop’s founding members.

13 Barenaked Ladies

July 18

Atlantic Union Bank Pavilion

Known for their “Big Bang Theory” theme song, the 1990s-era Candian pop/rock band has a strong setlist that includes “Pinch Me” and “One Week.” Opening the show are Five For Fighting and Del Amitri.

14

Jelly Roll, Ashley McBryde & Struggle Jennings

August 12

Veterans Home Loans Amphitheater @ Virginia Beach

On the surface, singer Jelly Roll might pass for a drummer in some death metal band, but in reality the multi-genre performers has become a major hit in country music, winning three CMT Music Awards for his tune “Son of a Sinner” earlier this year.

15

Matchbox Twenty & The Wallflowers

July 26

Veterans Home Loans Amphitheater @

Virginia Beach

This pair of groups popular in the late’90s/ early 2000s are guaranteed to bring a thousand smiles. Matchbox 20 hits included “3 AM” and “If You’re Gone.” The Jacob Dylan-led Wallflowers are best known for “One Headlight,” “Three Marlenas” and “The Difference.”

16

Nickelback

September 2

Veterans Home Loans Amphitheater @ Virginia Beach

Tickets for Nickelback concerts this summer have been selling so well they decided to extend the tour to include Virginia Beach. The hard rock band are certain to perform “Rockstar,” “Far Away,” and “Photograph.”

17

The Avett Brothers

August 8

Chartway Arena @ ODU

The Avett’s are a familiar act in these parts and they always put on an outstanding, highenergy concert of new grass-meets-pop.

Tears For Fears

The Best in Music Since 1969

18

Billy Strings

July 19

Chartway Arena @ ODU

Progressive bluegrass guitarist Billy Strings is a rare talent. Phenomenal guitarist and showman that people can’t seem to get enough of.

19

Arrested Development

August 2

17th Street Stage @ Oceanfront

Grammy-winning, Afrocentric hip-hop trailblazers Arrested Development will give a somewhat rare live performance with free admission. The group was heard in the film “Malcolm X.” Hits include “People Everyday” “Tennessee,” and “Mr. Wendal.”

20

SAD Summer Festival 2-23

July 11

Atlantic Union Bank Pavilion

This tour of alternative rock features Taking Back Sunday as the headliner and includes The Maine, Mom Jeans, Stand Atlantic, Hot Mulligan, PVRIS, and Daisy Grenade.

21

Godsmack & Staind

July 21

Veterans Home Loans Amphitheater @ Virginia Beach

Looking for a nu-rock concert to attend? This is your best bet for summer. Key Godsmack tracks include “Soul On Fire,” “I Stand Alone,” and “Awake.”

22

Tab Benoit with Anthony Rosano & The Conqueroos

July 18

Elevation 27

Blues guitar great Tab Benoit returns to Virginia Beach and this year will be especially poignant since he produced and signed local blue/ rock group Anthony Rosano & The Conqueroos — his opening act. Do not miss this show.

23

Living Colour

July 27

New Realm Brewing Company

The very week Living Colour’s “Cult of Personality” exploded on commercial radio, the hard rock band played a scheduled show at Norfolk’s tiny King’s Head Inn. A month later they returned for a sold-out gig at The Boathouse. Still on top of their games, check ‘em out at New Realm. Our friends Rocky 7 open the show.

24

Fall Out Boy, Bring Me The Horizon, Royal and the Serpent

July 22

Veterans Home Loans Amphitheater @ Virginia Beach

A fun evening of 2000s era punk pop with Fall Out Boy and friends.

25

Herb Alpert & Lani Hall

July 26

Sandler Center

Talk about a legend. Jazz/pop trumpeter, composer, record company executive Herb Alpert will perform a full set of his 1960s Tijuana Brass hits and more. A must concert.

26

Sergio Mendes

August 16

Sandler Center

Another of those rare opportunities this

Alice Cooper

summer to hear a legend perform in concert. In this case, a true gem of Brazilian music with a fusion of jazz and funk. You’ll be hard-pressed to sit still in your seat.

27 Spyro Gyra

July 12

Elevation 27

Jazz greats Spyro Gyra perform in an ideal setting at Elevation 27. An A+ opportunity.

28

Counting Crows & Dashboard

Confessional

July 28

Veterans Home Loans Amphitheater @ Virginia Beach

While we could take or leave Dashboard Confessional, Counting Crows are exceptional and the reason to attend this concert. Love hits like “Mr. Jones” and “Round Here.”

29

Soccer Mommy

July 26

17th Street Stage @ Oceanfront

A free show from this hip, indie/folk singersongwriter from Switzerland that music critics seem to love. Check out tunes like “Shotgun,” “Cool” and “Bones.”

30

Ace Frehley

August 16

17th Street Stage @ Oceanfront

KISS guitarist Ace Frehley lands in Virginia Beach for a free show of his solo works as well as the songs he penned while an ac-

tive member of KISS, including “Shock Me,” “Cold Gin” and “Strange Ways.”

31

Rebelution

June 24

Veterans Home Loans Amphitheater @ Virginia Beach

What happens when you combine jam band vibes, reggae, funk and rock? Rebelution. Get stones, dance, and twirl the night away.

32

Virginia Beach Funk Fest Beach Party

August 25

24th Street on the Beach

No better place to experience old school funk and disco. Plus your rare chance to hear Evelyn “Champagne” King and The Bar-Kays live in concert.

33

Foghat

June 21

17th Street Stage @ Oceanfront

The 1970s-era classic rock band will perform a free concert sure to please with such radio-played songs as “Slow Ride” and “Fool For the City.”

34

Moe.

July 12

17th Street Stage @ Oceanfront

For some fans of jam band music, Moe, with their more concisely penned songs, was every bit as good as Phish. See them free of charge.

(continued on page 28)

Arrested Development

Relax In Style

facebook.com/NYFOBoutique

35

July 15

Harrison Opera House

Two smooth jazz giants on one stage together. What’s not to love?

36

Steel Panther

July 22

The NorVa

The next best thing to Spinal Tap, Steel Panther are an over-the-top glam/metal band full of flash, dazzle, and fun.

37 Dumpstaphunk

August 24

17th Street Stage @ Oceanfront

You may have seen this New Orleans fusion/funk group at a past Bayou Bon Vivant festival of Cajun culture. Enjoy them for free in late August with the ocean freeze.

38

Black Joe Lewis

July 6

New Realm Brewing Company

When Black Joe Lewis debuted in 2009, many music industry types hailed him as the “next big thing” and one of the “ten bands set to break out.” Songs like “Sugarfoot” and “Big Booty Woman” were clear evidence. Somehow, superstardom eluded the gifted guitarist and player of modern soul/funk/blues. The talent is still there. Check him out.

39

The Connells

July 14

The NorVa

Back in the late ‘80s, college rock was a big thing and this twang/pop band was super popular in Norfolk, performing multiple times to sold-out crowds at The Boathouse.

40 Moon Taxi

August 9

17th Street Stage @ Oceanfront

Free

Alternative rock band plays a free show at the Oceanfront. Songs to listen for include “Too High,” “All Day All Night” and “Mission.”

Richard Elliott & Rick Braun

Hear Evelyn “Champagne” King perform her disco hit “Shame” during the Virginia Beach Funk Fest Beach Party on August 25 at 24th Street on the Beach.

Coastal Collective is co-working with a twist! We offer several different types of workspaces with amenities, but we also offer something no one else does. We have a fully functioning sound studio for any manner of media production. Whether you need a space to roll up your sleeves and work or a place to film your music video, we’ve got you covered.

Schedule your free tour today.

What’s Old is New Again with X

By Jeff Maisey

Punk rock legends X, whose 1980 debut album “Los Angeles” was literally an earth-shattering moment when it was released, have been rejuvenated as songwriters as of late.

After marking the 40th anniversary of its dynamic first album, Exene Cervenka, John Doe, Billy Zoom, and DJ Bonebrake surprised longtime fans with “Alphabetland,” a full-length album of new material and songs previously never released. For the original lineup, the 2020 critically-acclaimed record marked the first album of new studio material in 35 years, and best of all, they hadn’t missed a beat.

Songs like “Water & Wine,” “Free,” and the title track would have been right at home on any of the first four X albums. On “Alphabetland,” the entire band was credited on most of the tracks as contributing composers.

to produce an LP’s worth of tunes.

“I think the better songs tend to come all at once,” said Doe. “But you always have to go back and pump up something and trim something else. That’s where experience in songwriting comes in handy.”

Doe noted the energy while performing songs live is vastly different than in the rehearsal and recording studio, but he’s adamant about not allowing audience feedback to influence the ultimate direction of a song being “road-tested” before it makes the record.

X

With Squirrel Nut Zippers

In a recent phone interview with Veer Magazine, bassist/singer John Doe said when X performs at Elevation 27 on June 28 fans will be treated to material from “Alphabetland,” but the lion’s share of the live set will feature a bunch of their old punk rock classic tunes such as “Los Angeles,” “White Girl,” “The New World,” “Hotel Room in My Bed,” “True Love, Part 2,” and “Blue Spark.” Fans likely will also hear such deep cuts as “Nausea,” “Devil Doll,” “Adult Books,” and “Your Phone’s Off The Hook But You’re Not”

June 28

Elevation 27

“I don’t believe in creating through committee,” Doe said. “I think the focus groups have probably ruined more films than we’ve even known. I’m not going to change my opinion on a song based on the audience’s reaction because it’s brand new. They’re probably not going to have much of a reaction. They’re just going to be trying to figure it out.”

John Doe enjoys the songwriting process and creating something — a song — from nothing.

“That in itself is pretty thrilling if you don’t know where the hell you’re going,” said Doe. “Sometimes it’s too much. It’s like I’m going somewhere and I don’t have a fucking clue.”

But digging deep into the classic X catalog isn’t all concertgoers will experience. The band will sprinkle-in a few brand new songs that’ll be included on an album with the working title “Smoke & Fiction.” The new material is slightly different from X’s established sound, sonically touching on the past, present, and future.

“They turned out to be very catchy, which was a surprise to me,” said Doe of the new tunes. “The choruses you can sing-along to. And there’s an actual chorus in a lot of them. I think this is a little bit of a departure because on the last record, ‘Alphabetland,’ we were playing to our strengths.”

As songwriters, Doe and singer Exene Cervenka tend to create in bursts when setting out

In the case of “Alphabetland,” X had recorded the material in early 2019 with the encouraging support of indie label Fat Possum and producer Rob Schnapf (Beck/Elliott smith/Guided By Voices). The only reason for writing and recording the songs was because they were being backed to release it.

“If you don’t have a place to put it (the songs) then there’s no need to expend all that energy when people just want to hear old songs anyway,” said Doe. “That’s the reality. I’m not satisfied with that. We had these opportunities all sitting in front of us so we didn’t have any excuses. After the first (recording) session went well and it sounded like X, the following five months Excene and I got really busy and came up with six more songs, and we had a record.”

The Doobies Keep Rollin’

By Jim Morrison

For Fleetwood Mac, the before and after is with Peter Green and Lindsey Buckingham and Stevie Nicks; a dramatic stylistic divide for one of rock’s enduring bands. For The Doobie Brothers, the before and after is the Tom Johnston/Patrick Simmons and Michael McDonald eras.

The Doobies — yes, named after their fondness for weed — formed in San Jose more than 50 years ago as a rock band that rode with Hell’s Angels playing biker bars and followed in the model of multiple harmonies and lead singers of San Francisco’s Moby Grape.

“The way they blended harmonies, the way they blended acoustic and electric guitars — little did I know how much that would influence what ended up being the Doobie Brothers,” said Johnston, one of the group’s founders.

Mac and the Doobies, of course, evolved before and beyond those keystone dividers. The Doobies with Johnston’s growling lead vocals moved from the mainstream rock of “China Grove” and “Long Train Runnin’ “ into the folk-rock of “Black Water” and then the more soulful “Takin’ It to the Streets,” the first album where McDonald appeared. Along the way, their lineup shifted, adding and dropping drummers and notably bringing in Steely Dan alum Jeff “Skunk” Baxter, who lent his songwriting chops.

Virginia figures in the success of “Black Water,” which was written by founding guitarist Patrick Simmons, but sung by Johnston.

“That’s a story that could have happened back then, but never would ever happen now: Roanoke, Virginia picked that tune up and started playing it in heavy rotation, and somebody in Minneapolis who I guess knew somebody in Roanoke heard the song and decided to follow suit, and it ended up becoming our first #1 single,” Johnston told an interviewer a couple of years ago. “That was Pat’s first single. And oddly enough, it was never looked at as a single by the record company.”

“We just kept trying things,” Johnston told a newspaper. “Went from the first album, which didn’t sell, to the second album, which had a song that got on the radio — couple of them, actually. Then the third album, we started trying synthesizer stuff. Album after that, we had the Memphis Horns.”

“ We’ve had a lot of players too. I mean this in the most respectful way, but we’ve had an exploding drummer problem,” Johnston said, referring to the “Spinal Tap” gag. “And bass players, we’ve had a few of those. They all brought something of their own to the music.”

By the mid-1970s, Johnston was burning out. The band

had a bar-equipped plane called the DoobieLiner. They signed their first record deal years earlier for $20,000, $10,000 for equipment and $10,000 for cocaine.

As McDonald’s contributions grew, Johnston’s receded. He left the band before its biggest hit, “Minute by Minute.” The 1978 album spent five weeks atop the charts and several radio formats for the better part of two years. McDonald’s song, “What a Fool Believes,” written with Kenny Loggins, became the band’s second No. 1 single and won a Grammy Award for Record of the Year. So did the album.  The title track also was nominated for Song of the Year, an award won by “What a Fool Believes.”

The group hung together for one more album before breaking up in 1982. They returned later without McDonald. He rejoined them for good during the pandemic -- and quickly caught COVID a week into their run, forcing some cancellations. Earlier this year, Johnston, who will turn 75 this summer, announced he had to undergo back surgery and won’t be with the group on this leg, which stops at Portsmouth’s Atlantic Union Bank Pavilion on July 3.

Years after they were eligible the band finally entered the Rock and Roll Hall of Fame. “We have a lot to be grateful for right now, starting with our induction into the Hall of Fame. We were all pretty well stoked about it, man,” Johnston said.” It was not something that we knew was coming right away or anything like that, but it’s something that we’ve chatted about on occasion. But not all that much, because if it was going to happen, it was going to happen.

I think a lot of things came into play — changing management really helped because it just gave us a better window. But as far as the amount of time that we’ve been eligible — since ’95, I guess — every once in a while, it would pop up and we’d talk about it, then we’d go back to work. So, when we finally got the word that we’d been nominated, it was a big deal. To me, the biggest thing about it was when you think about it, there are hundreds of thousands of people playing music, and some people have been doing it for a very long time — so to be in the Hall of Fame with a lot of the people that I grew up listening to, that were my heroes, means the world to me. There’s only about 200-something people in the Hall of Fame, and it’s a real honor. I feel humbled by that — we all do. We’re in good company.”

The Doobie Brothers July 3 Atlantic Union Bank Pavilion

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Waterside Summer Concert Series

Friday and Saturday Nights · 7PM

Enjoy the hot summer nights with live music on the Blue Moon Taphouse stage! Featuring local and regional acts, a variety of venues for dining, waterfront patio seating, and over 10 bars with local beer on tap + specialty drinks.

Waterside District Open 7 Days a Week at 11am

Beaching It with Alana Springsteen

By Jeff Maisey

Coastal Country is a thing, just ask rising music star Alana Springsteen, who was born and raised in Virginia Beach.

“I’m a Beach girl through and through,” said Springsteen. “It made me who I am. It comes out in so many ways in the music that I write. I’m from a small town called Pungo, Virginia. I think it’s the perfect crossroads of country and coastal. Instead of dirt backroads it was sandy backroads — you’re in bare feet. This place made me. It’s my entire heart.”

Alana Springsteen will perform as part of the inaugural Beach It Country Music Festival, scheduled June 23-25 on the Virginia Beach oceanfront beach. The festival will feature headliners Miranda Lambert (June 23), Thomas Rhett (June 24), and Luke Bryan (June 25).

The fest will feature two stages: Main Stage and Next From Nashville. Country music fans will get a taste of established artists as well as an exciting sample of new performers who could very well be the next Morgan Wallen or Zach Bryan.

Alana Springsteen, being the hometown girl, will get a slot on the Main Stage (Sunday, June 25, 2:25 PM). She is one to watch with true talent on multiple levels.

Alana Springsteen sings, plays guitar, and writes much of her own music. For her debut studio recording, “Twenty Something: Messing It Up,” Springsteen composed every tune.

“I’m just scratching the surface,” Springsteen said of her career thus far. “I’m 22 years old. I think this phase of life is just a rollercoaster of emotions, at least it has been for me. You can make mistakes, learn from it, and hopefully one day get it right. That’s what this record is all about.”

ing fanbase.

Beach It Festival

“The reason I got into music was to inspire other people and make them feel they are less alone,” she shared. “I think music has a supernatural power to do that. It did for me. I looked up to artists Taylor Swift, Shania Twain, Faith Hill, Cary Underwood, Keith Urban. Country music raised me. Those stories connected with me in a way no other music did. That’s the reason that I felt brave enough to chase my own dreams.”

June 23-25

On the beach between 3rd Street and 7th Street beachitfestival.com

“Twenty Something: Messing It Up” is being released in three phases by Columbia Records NY/Sony Music Nashville. Her latest single, “Chameleon,” hit Spotify on May 19 and received 185,000 plays in less than a month. The high-energy “You Don’t Deserve a Country Song,” released in mid-January, garnered 4.6 million plays by early June.

Alana Springsteen who started writing songs when she was 9 years old in Virginia Beach, is the epitome of today’s next generation country, with a pop culture hipness and sound but rooted in real life classic country values. Her lyrics clearly connect with and inspire a grow-

Alana Springsteen now lives in Nashville and is making a name for herself, but she remains forever connected to her Pungo roots. Like Pharrell, she wears it on her sleeve — and arm. Springsteen has “757” tattooed on her right forearm to remind folks where she so proudly hails from.

As for her famously recognizable last name that has created widespread speculation on social media, Alana Springsteen, smiled, laughed, and shared this with Veer Magazine: “Let’s set the record straight, there’s no relation. But it’s pretty cool we have the same last name.”

Could Alana be the new Boss of country music? Stay tuned.

In the meantime, catch her live at the Beach It Country Music Festival on “her” beach.

A-List Jazz Vocal Summit at The Z

By Jerome Langston

It is quite early in my highly enjoyable, recent phone chat with Jane Monheit, when the acclaimed jazz singer pays me a particularly flattering compliment. “ You have a beautiful voice actually, like really beautiful,” she says, after I’d apologized for sounding a little raspy. It was quite a generous thing to say...and that generosity of spirit, quickly underscored in part — why she is such a popular jazz vocal instructor. A Long Island native, who has been residing in Los Angeles for the past 7 years, Jane is one of the most successful jazz artists of the past two decades. She will be in Hampton Roads later this month for Virginia Beach ’s Vocal Jazz Summit, where she will both perform with her trio, and teach a vocal masterclass.

“ Teaching is something I really do a lot of. And I think in jazz, it’s a really important tradition for us,” Jane says. “It’ s just part of the culture of this music.” She has been teaching almost since the beginning of her professional career, which has included the release of a dozen or so, Billboard charting studio albums, collaborations with music legends like Ron Carter, Terence Blanchard, Ivan Lins, and Vince Mendoza, and concert dates at esteemed venues from Carnegie Hall to The Hollywood Bowl. The wife and mother of a young son, has also performed on many popular television shows, such as The Tonight Show, and her music has been included on several popular film soundtracks. And yet, she is clearly quite humble about her career accomplishments, and enjoys passing on her considerable knowledge to students, and emerging, young jazz artists.

“It’s a love fest. It’s something we’re all really, really excited for,” Jane says, regarding the opportunity to teach masterclasses, as a respected jazz artist and educator. “Masterclass teaching is fun.” Her main stage concert at The Z, which features her backing trio of Michael Kanan on piano, her husband Rick Montalbano on drums, and Luca Alemanno on bass, will kick off the 3-day Vocal Jazz Summit. She hasn’t locked down the setlist yet, but as she tells me, “I’m always focusing on the Great American Songbook.” Her repertoire of popular tunes includes “Over the Rainbow” and Jobim’ s “ Waters of March.”

“And then there’s a few swingers everybody always likes to hear. They want to hear ‘Cheek to Cheek ’ ... ‘ Taking a Chance On Love’ ‘Honeysuckle Rose’. And so to have like a group of tunes that people are like ‘oh yeah we’re looking forward to hearing that one.’ I’m very proud of that,” says Jane, who currently records with the cool-ass indie label, Club44 Records. Her recent holiday album, The Merriest, will come out on vinyl later this year, and will feature a bonus track that she’s recording next week. And she’s excited to be back as a performer at The Z. “I was just in love with the place from the start. It is such a beautiful venue.”

The Vocal Jazz Summit is in its third year, but this will easily be the biggest one thus far, following a soft virtual only launch during the pandemic, and last year’s first one that was in person. Its co-founder and artistic director is Alexis Cole, a well-known jazz singer and SUNY Purchase College Conservatory, jazz vocal professor, who counts as her former student, Samara Joy, the young jazz vocal phenom who stunned the world earlier this year, when she won two Grammys—including the highly coveted Best New Artist award. Samara participated in one of the prior summits, as did the legendary jazz singer, Kurt Elling, who is also a multiple Grammy winner.

“ The aim of the Vocal Jazz Summit is to engage the community of singers. And empower vocalists of all levels, from amateur to professional,” says Alexis, whom I chat

with for a few...a day after conversing with Jane. “ We have a full, interactive virtual component, where people can ask their questions...they can participate as fully as possible, virtually.” Some of the other participating jazz artists this year includes; accomplished singer/actress Daralyn Jay, multiple Grammy nominee Kate McGarry, the magnificent jazz pianist & vocalist Johnny O’Neal, the aforementioned Monheit, and jazz vocal icon Sheila Jordan, who is still performing at the spry age of 94. Of Ms. Jordan, whom Alexis and team wanted for one of the earlier summits, she says, “She has terrific stamina... We’re just grateful to have her presence.” The legend will perform with bassist Cameron Brown on night 3 of the jazz summit.

Alexis is the founder of Jazzvoice.com, which she started 3 years ago to make jazz vocal instruction available to the public, during the height of the pandemic. Her recent big-band release is entitled Sky Blossom: Songs From My Tour of Duty. Much of the site’s curated content, including its vocal jazz classes, are the basis for the programming at this annual jazz summit. “Jane was one of my first teachers on jazzvoice.com. And she’s a wonderful and warmhearted teacher,” says Alexis. Additionally, Liz Terrell, a well-known Virginia based jazz singer, who works for The Z as its Music and Community series producer, partners with Alexis on putting the ambitious weekend festival together. Over the 3 days, there are multiple concerts, jam sessions, vocal masterclasses, workshops and more. Attendees can purchase 3-day passes to attend all events, or buy tickets to individual concerts. Virtual all-access passes are also available.

When I finally talk to Liz about the upcoming summit, earlier this week, she is optimistic about the success of the festival, which has grown in popularity each year. “It is a unique opportunity for the community to catch nationally and internationally known artists,” she says. She also notes that though our local market has a bunch of jazz musicians who are quite prominent, there is less concentration of actual jazz singers here. She says that she was “overwhelmed” at the last summit, from the “kind of connection with the vocal community” that the festival fostered.

This single weekend in June will bring world-class jazz singers and instrumentalists to Virginia Beach ’s Town Center. Liz, whose recent jazz release, It ’s All Right With Me, has garnered positive reviews and buzz, expects the annual Vocal Jazz Summit to grow into a major jazz event that is recognized by an international jazz audience. There are already international jazz supporters from places like Japan and parts of Europe, who will be attending virtually this year, but she is most excited for what local attendees will experience—especially in terms of the many quality jazz concerts during the festival. “It really creates a huge opportunity to get your feel...for that weekend.”

Jane Monheit will teach and perform over 3-day event focused on jazz vocalists

Focus on Modern Jazz Composers

By Jerome Langston

“ I broke my finger 3 weeks ago while on vacation,” bassist Jimmy Masters says to me earlier this week, before we even start chatting about the latest show in the TowneBank Jazz series that he curates. He sounds disappointed... but the finger injury could ’ve been a lot worse. He’s unable to play his instrument for a few weeks—which means he will miss some significant gigs, but the finger should be healed by next month. One of the shows that he won’t be able to perform at unfortunately, is the June 22 jazz series date at the Sandler Center. “ For which I’m super bummed about, cause I love the band I put together, and I was really looking forward to playing with them,” he says. Chris Brydge, a well-regarded bassist in his own right, will replace him for that evening’s concert.

The TowneBank Jazz series, which was formerly known as the Miller Jazz series, is hosted cabaretstyle inside of the Miller Studio theatre. It ’s an intimate space that evokes more of a jazz-club setting. Jimmy always comes up with a theme for each show in the series, and so the June concert is called The Modernists, which signifies that the evening’ s program will largely focus on jazz composers whose compositional works are “newer” within the jazz pantheon—say within the past 30-40 years. Some of these composers are huge names like Herbie Hancock, but most are much lesser-known artists and composers whose works have been perhaps overlooked.

“And so I thought it was a good opportunity to present their music, and introduce some folks in the audience to some really important jazz artists that they might be a little less familiar with, and mix that in with some people that they are familiar with, like Herbie Hancock, and people like that,” says Jimmy, who will still be in attendance to introduce the band. That quintet of musicians will consist of the aforementioned Chris Brydge on bass, Alan Parker on guitar,

Emre Kartari on drums, the great Justin Kauflin on piano, and Richmond ’s Taylor Barnett on trumpet. The music will run the gamut from Radiohead ’ s “ Knives Out,” which is from their now classic but imperfect 2001 album, Amnesiac, to Enrico Pieranunzi ’s lushly arranged “ Je Ne Sais Quoi,” and much in between, including compositions by bassist Steve Swallow and Rick Margitza.

The following day I ring Taylor, who is now the director of Jazz Studies at VCU. Jimmy describes Taylor as “a phenomenal trumpet player” and “a great composer.” Taylor has performed for the series prior, and says that Jimmy, as the series curator, has “really built a great vibe, and a great scene.” So that said, the Virginia native enjoys playing here whenever the opportunity arises. During our quick chat, I ask Taylor about Richmond ’s current jazz scene. “ Richmond has a really special, and pretty amazing jazz scene,” he says. And VCU predictably plays a large part in sustaining it. I also ask him to describe some of the music that he’ll be playing as part of The Modernists show. He mentions the work of jazz bassist Dave Holland.

“ He’s a legend from playing in Miles Davis’s Bitches Brew, and all those things, but in the last...probably mid-nineties — he’s really stepped out as a band leader in his own right and composer,” Taylor says, regarding Holland. “ He’s really adventurous with different kinds of meters, so different time signatures, and kind of Eastern European or Balkan influenced rhythmic approaches to jazz,” continues Taylor. He’s also just looking forward to playing with the other musicians. They are all featured on the new Chris Brydge album, Sun Song. Upcoming shows in the series will include The Originals, on July 20, and Lori ’s Jazz Lounge on August 17, featuring jazz vocalist Lori Williams, whom Jimmy says is “ killer... a really good singer.”

Trumpeter Taylor Barnett will perform with local jazz musicians for “The Modernists”

SELWYN BIRCHWOOD

w / CLAY MELTON

JULY 22 | 8:00

FREE SHOW

Swing Time

By Tom Robotham

Hampton Roads has long been home to some first-rate jazz musicians, and I can think of no better evidence of this fact than the superb quality of two recently released albums by musicians who live here: Commitment, featuring drummer-composer Jae Sinnett and his Zero to 60 Quartet, with special guest Randy Brecker, and Acceptance, saxophonist Eddie Williams’ latest project, which also features a stellar ensemble.

Sinnett is the better-known of the two, in part because of his 34-year run as host of Sinnett in Session , a jazz show on WHRVFM (89.5.). Indeed, because of that achievement alone, Commitment is a supremely appropriate name for his latest record. Every week on the show (which airs Monday through Thursday evenings as well as Sunday afternoon) Sinnett demonstrates his unwavering passion for jazz, not to mention his deep knowledge of its history and his ability to explain musical concepts to a general audience. All the while, he has sustained a career as a musician who is widely respected nationally. The most recent example of this is Commitment ’s rise to number 3 last month on the Jazz Week Radio chart, which tracks radio play across the country. That he is also an accomplished chef and a dedicated music educator often makes me wonder where he finds the time

and energy.

The energy is certainly evident on Commitment, and right out of the gate. The opening track, “ Takin’ it There,” is a vigorously swinging Sinnett original in the hard-bop tradition—one that features blazing solos by saxman Steve Wilson and pianist Allen Farnham as well as remarkably graceful melodic interplay between Wilson and Brecker on trumpet.

Sinnett wrote two other original compositions for the album—“Muhammara’s Dance,” and “Guise,”—while Farnham penned two: “ Wait for Me” and “Be it as it May.” The other five tracks on the record are arrangements of jazz standards representing a range of styles, from the romantic yearning of the well-known ballad “Skylark,” enhanced by Brecker’s beautiful flugelhorn, to the Afro-Cuban “Morning,” and “No More Blues,” a bossa nova tune by the beloved Brazilian composer Antonio Carlos Jobim. The original title of the latter was “Chega de Saudade,” which literally means “no more yearning,” and this spirit is reflected in the joyful playing here. Jae explained to me that they chose to play it as a Partido Alto, another of Brazil’s highly sophisticated rhythmic concepts. Technicalities aside, it’s simply exhilarating—the kind of music you want playing on the car stereo while driving down a beach road in a convertible.

A few things occur to me as I reflect on the album as a whole. One is that the originals are testaments to the fact that jazz

still offers unlimited possibilities for melodic, harmonic and rhythmic invention, even though it’s been around for more than a century. Second, the fresh arrangements of the standards are proof that tunes that have been recorded by many other musicians never lose their vitality so long as they’re put into the hands of great artists.

Yet another thing that comes to mind is that this album perfectly balances two essential qualities of jazz: the creation of space for individual expression, and the demand for group cooperation—the necessity of listening to each other and responding in kind.

Above all, the album swings. Sinnett often talks about the importance of swing as an essential quality of jazz—the rhythmic feel that is difficult to define in non-technical terms, but something everyone recognizes when they hear it. I’ve heard a lot of new jazz records that lack this quality— music that is intellectually sophisticated but lacking in soul. Commitment offers a deeply refreshing contrast to those sorts of recordings. Musically, it is very sophisticated, and the playing is virtuosic throughout. But equally important is that it clearly came from the heart.

Acceptance swings hard from the outset as well, with a high-intensity performance of “Barracudas,” a Gil Evans/Miles Davis composition (originally titled “ Time of the Barracudas”) that conveys an air of mystery. The original was recorded in 1963 for a much larger ensemble, but this strippeddown version works extremely well in the

hands of the musicians Williams assembled for this project—pianist Justin Kauflin, bassist Chris Brydge and drummer Emre Kartari. I love the way it opens with a short staccato phrase played by Brydge alone, which is then repeated as Kauflin and Kartari join in, and repeated again as Williams layers on his sax. Picking up the pace about a minute in, Kauflin shines with a solo that showcases both his stunning technique and his artistic sensitivity. The spotlight then turns to Williams who further intensifies the track with a sax solo that has a sense of urgency, tempered by his beautiful tone. The album features several other classic jazz tunes, including Billy Strayhorn’s “A Flower is a Lovesome Thing,” which has been recorded by a wide range of instrumentalists and vocalists, most notably Johnny Hodges and Ella Fitzgerald with the Duke Ellington orchestra. It is almost always played as a slow ballad, so I was somewhat surprised by Williams’ decision to speed up the tempo. When I asked him about it, he told me he’s always love the tune—especially the Yellowjackets’ version —but “ wanted to try to put a new spin on it and ended up with a kind of drone beneath the ‘A’ section of the melody,” which stands in contrast to the “more swinging bridge section.”

Balancing out the arrangements of standards are three originals by Williams: the title track, which is reprised at the end of the album; “Couples Only,” and “12:58 to Lima.” I especially like “Couples Only,” a fine example of the evergreen quality of straight-ahead jazz accentuated by freshsounding instrumental flourishes.

As a whole, the album takes on a variety of moods and styles, but the quartet remains impressively tight throughout. Indeed, you’d never guess that this is Williams’ first time recording with Kauflin and Kartari. The session makes it sound as if this ensemble had been playing together for years.

In short, I highly recommend both of these albums, whether you’re a serious aficionado or a casual jazz listener. They’re available on various music-streaming services, or you can purchase hard copies. To buy Acceptance, go to eddiewilliams.bandcamp.com. Autographed copies of Commitment are available directly from Jae via PayPal at jaejazz@yahoo.com. Both albums are also available at Birdland Records in Virginia Beach.

Atlantic Union

Pavilion

7/3 - The Doobie Brothers

7/11 - Taking Back Sunday/The Maine/more

7/18 - Barenaked Ladies

Veterans United Home

Loans

Amphitheater @ Virginia Beach

6/17 - Shagg Fest feat. Method

Mann & Redman

6/24 - Rebelution

7/1 - Eric Church

7/7 - Tears For Fears

7/8 - Big Time Rush

7/14 - Chris Stapleton

Attucks Theatre

6/17 - Musical Tribute to Luther Vandross

Harrison Opera House

7/15 - Richard Elliot & Rick Braun

Scope Arena Plaza

7/1 - RNB Block Party

The NorVa

6/17 - Gimme Gimme Disco

6/20 - Winger

6/24 - Case

6/30 - The Machine Performs

Pink Floyd

7/9 - Cupcakke

7/14 - The Connells

7/15 - Saved By The 90s

Elevation 27

6/22 - Oh He Dead

6/24 - The Vegabonds

6/28 - X w/Squirrel Nut

Zippers

6/29 - Duane Betts

6/30 - Dave Matthews Tribute 7/1 - Flipturn

7/2 - Sister Hazel

7/3 - Kendall Street Company

7/6 - Liliac

7/7 - The Ultimate Doors

7/8 - Billy Prine

7/9 - Baked Shrimp

7/12 - Spyro Gyra

7/15 - On The Border: Eagles Tribute

The Vanguard Distillery & Brewpub

6/16 - Chris Duarte and Caleb

Wolfe

6/17 - Zack Salsberry

6/23 - Good Shot Judy

6/30 - Take The Cake

7/7 - The Champagne Band

7/8 - Nashville Nights

7/13 - Songwriter Night

Zeiders American Dream Theater

6/16 - TA Gatling w/Jared Farrell

The Bunker Brewpub

6/20 - Mad Caddies w/ Jackmove/The Last Gang

Church Street

Jazz Series

7/15 - Richard Elliot & Rick

Braun @ Harrison Opera House

Sunsets on the River

@ Hermitage Museum & Gardens

6/22 - The Fuzz Band

7/6 - Good Shot Judy

7/20 - Grateful Jed

8/3 - Roberta Lea & Band

8/17 - Allen Hudson & The Halfmoons

Oceanfront Concert Series

24th Street Park

6/21 - DJ Jazzy Jeff

6/28 - Straight No Chaser

7/12 - Moe

7/19 - Andy Grammer

7/26 - Soccer Mommy

8/2 - Arrested Development

8/9 - Moon Taxi

8/16 - Ace Frehley

YNOT Wednesdays

@ Sandler Center Outdoor Plaza

6/21 - The Gentlemen & Their Lady

6/28 - WOAH! 90s Band

7/5 - Allen Hudson and The Halfmoons

7/12 - The Nashville Nights Band

7/19 - The Groove Motive 7/26 - The English Channel 8/ 2 - Buckshot 8/9 - Anthony Rosano & The

Live On The Lawn

@TASTE Bayville Farms

6/16 - Fixity

6/30 -

Brian

6/25 - Collie Buddz

6/29 - Andy Frasco & The UN

7/6 - Black Joe Lewis

7/27 - Living Colour

8/10 - Bumpin’ Uglies

Hampton Block Party

6/17 - Paul Urban & Friends

6/24 - United Souls

7/1 - BJ Griffin

7/8 - The Fuzz Band

7/15 - Lions Bridge

7/22 - Igor & The Red Elvises

7/29 - Original Rhondels

8/5 - Natural Wonder

8/12 - Brian Grilli

8/19 - Brasswind

8/26 - Michael Clark Band

Port Warwick

Summer Concert Series

6/21 - Anthony Rosano & The Conqueroos

6/28 - Air Force Heritage of America Band

7/5 - Bobby Black Hat Walters

Bank

Jazz Series @ Sandler Center 6/22 - “The Modernists” 7/20 - “The Originals” 8/17 - Lori Williams 9/14 - “Duke Ellington & Billy Strayhorn”

7/12 - Blackout

7/19 - Celeste Kellogg

8/2 - Inside Out

8/9 - Nashville Nights

8/16 - Good Shot Judy

8/23 - Forte Jazz Band

8/30 - Vinyl Headlights

Suffolk TGIF Summer Concert Series (Constant’s Wharf)

6/16 - Tidewater Drive

6/23 - 504 Supreme

6/30 - Island Boy

7/14 - Slap Nation

Suffolk TGIF

7/20

7/27

- Brasswind

- Calden & Company

- Tidewater Drive Band

6/15 - Badfish: Tribute to Sublime

Summer Concert Series (Bennett’s Creek Park)

7/28 - Inside Out

8/4 - Tailgate Down

8/11 - The Deloreans

8/18 - Wonderland

Big Bands on the Bay

Ocean View Park/Norfolk

6/18 - Khedive Notables Dance Band

8/13

Johnson 7/14 - Pasture #3 7/21 - The Tomcats 7/28 - Higher Ground 8/4 - Chisman Creek 8/11 - Fleet Forces Band 8/18 - Forte

6/16 - Drew Parker 7/14 - Morgan Evans 7/28 - Celeste Kellogg 8/2 - Granger Smith 8/19 - Buckshot

Waterside District Blue

Big Band 7/2 - Glen Boswick & The Sounds of Swing 7/9 - The Top Hats Orchestra 7/30 - The Top Hats Orchestra 8/6 - Southside Little Big Band

6/29 - RaJazz

7/13 - RaJazz

Elation Brewing

6/20 - Open Mike

6/23 - Wine Dark Sea

6/24 - Dominick Hankle (1 PM)/Scotch & Rye (6:30 PM)

6/30 - Ben Long

7/5 - Fixity

Scandals Live

6/29 - The Lonely Ones

7/14 - Rehab

Riffhouse Pub

6/16 - Shadow Archetype/ Graveside at Midnight

6/17 - Riggs & Lane

6/19 - The Russian White/ Solemn Shapes

6/23 - Jay Rakes Band/Thee Nux Trio/Mantra

Big Pink/Victorian

Station

6/15 - Open Mic w/Annie Johnson

6/19 - Jason Eady & Jamie Lin Wilson

6/25 - Open Mic w/Karl’s Community

7/20 - Open Mic w/The Love Cats

Froggies

6/15 - Tommy V Band

6/16 - Radio 80s

6/17 - Intangible Cats

6/18 - Heather Edwards Duo

6/21 - Micah Spruill

6/22 - Brad & Fred

6/23 - Brasswind

6/24 - The Janitors

6/25 - The Blue Mile

6/28 - Jake Ryan

6/29 - Big Forest Fire

6/30 - Lucky 757

7/1 - VB Lane Band

South Beach Grill

6/23-24 - Social

7/5 - Borderline Crazy

Grace O’Malley’s Irish Pub

6/16-18 - Donal O’Shaughnessy

6/21-25 - Conor Malone

6/28 - 7/2 - Edward Plus One

7/4-8 - Mossy Moran

7/11-15 - Don Bunch

Decoy’s

6/16 - Please House Point

6/17 - Jason Cale Band

6/18 - Aaron Fulcher

6/23 - Later That Night

6/24 - Retro

6/25 - Robbie Mead

6/30 The Life Hacks

7/1 - Island Boy

7/2 - Ray Meeks

7/7 - Joe Fu

7/8 - Kaboom Box

7/9 - Johnny Smallwood

7/14 - Mocean

7/15 - Celeste Kellogg

7/16 - James Ford

Acoustic Carnival

The Coffee Shoppe/Olde Towne Portsmouth

6/22 - Dakota & Jasper Smith

7/20 - Jarvis Griffin

1st Presbyterian Church Courtyard (Portsmouth)

6/28 - Jim Bulleit & Richard David Spano

Hanks Filling Station

6/18 - Garry Garlic

6/25 - Dan Pellegrino

Flat Iron Crossroads

6/17 - The English Channel

6/24 - Harvey Dalton Arnold

Band

7/8 - The Deloreans

7/15 - Good Shot Judy

Vibrant Shore Brewing Company

6/22 - Cody Browning

(continued on page 44)

Good Shot Judy brings is exciting big band flair to The Vanguard on June 23 and Hermitage Museum & Gardens July 6.

(continued from page 42)

6/24 - Old Scars & The Contactees

7/6 - Open Mic Music, Comedy, Poetry

Smartmouth NFK

6/22 - Spirit Gun/Wilde Owl/ Keep Flying

7/20 - Bobby Bare/Derek Smith/Ronnie Talman

Smartmouth Pilot House

6/24 - Shormey/Shagwuf/

7/8 - Rude Boy Riddim/Ground

Virginia Beach Town Center (Fountain Area)

Shine 6/22 - Nadia Koz Experiment

- Jason Cale Band

- Vinyl Headlights

7/4 - TA Gatling & The Guns

7/6 - Nick Gargiulo

7/7 - Lucky 757

Coastal Fermentory

6/23 - Troy Breslow

O’Connor Brewing Co.

6/24 - Nadia Koz

Calypso Bar & Grill

6/23 - The Taylors

6/28 - James Ford

6/29 - Rob Oliver

6/30 - Steve Forse

Grain

6/21 - Tim Bakner

6/22 - Bennett Walker Wales

6/23 - BOCA

6/24 - Charlton Phaneuf

6/25 - Dustin Furlow

6/30 Mocean Duo

Varia

6/22 - Tommy Douros

6/23 - Skylark, Skip Hancock

6/24 - Frank Sings Frank

6/29 - Frank Sings Frank

7/1 - Skylark

7/7 - Neptune Groove

Old Beach Tavern

6/22 - Zane Shenk

7/6 - HL Wilson

Redbones Raw Bar

6/22 - Brian Grilli

6/23 - RNR Band

6/28 - Billy Joe Daniel

6/29 - Brandon Bower

Ballyhoos

6/22 - Rob Oliver

6/23 - Mostly Water/Steven Dotson

6/29 - Dustin Furlow

6/30 - The Getdown

Big Woody’s Great Bridge

6/22 - Joe Grundmeyer

6/23 - Ever After

6/24 - OK

6/28 - Derek Smith

6/29 - Amy Kaus

Open Mic Nights

Mondays - South Beach Grill

Mondays - Tap It Local

Tuesdays - C.I.P.H.E.R. at Noir

Tuesdays - Hilton Tavern w/ Megan & Zach Moats

Tuesdays - Abbey Road w/ Doyle & Dunn

Tuesdays - STUFT Open Jam

Tuesdays - Winston’s Cafe w/ Joey Wood

Tuesdays - Froggies w/Fred Karam

Tuesdays - 501 North

4th Tuesdays - St. George Brewing Co.

Wednesdays - Sunset Grill

Wednesdays - Capstan Bar Brewing Co.

Wednesdays - Stellar Wine Co.

Wednesdays - BLVD Bistro

Thursdays - Blue Ribbon BBQ

Thursdays - Poppa’s Pub

3rd Thursdays - Victorian Station

Wanna be listed?

On July 14, The Taylors perform at TASTE Bayville Farms on Shore Dr.

EVENTS

Virginia Queer Film Festival

June 14-16

Old Dominion University

This first-ever festival of film provides a first-look forum for LGBTQ+ filmmakers and lovers of movies. Come see some amazing new cinematic works. More info at vaqff.org

La Fiesta Virginia Beach

June 16-17

29th Street Park @ The Oceanfront www.beacheventsvb.com

La Fiesta Virginia Beach possesses the key ingredients of authentic food, colorful cultural costumes, and high-energy national Latin music. Latin Grammy Award nominees and winners headline concerts on the Beach stage at 24th Street each night.

Authentic Latino and Hispanic food vendors as well as retail vendors round out the festival experience.

A Juneteenth Pageant — The Play

June 16

Northampton Community Center hamptonhistorymuseum.org

The Hampton Juneteenth Pageant is more than glitz, glam and Juneteenth history, the contestants will not only display their outer beauty but will also reveal their internal struggles with a mixture of music, poetry, laughter and tears. A Juneteenth Pageant-THE PLAY is like no pageant that you’ve ever seen before.

Written and directed by Hampton playwright, Marie St. Clair, this moving, often humorous and memorable experience will illuminate the origins and meaning of Juneteenth, the oldest nationally celebrated commemoration of the ending of slavery in the United States. You will laugh, you may cry, but you will leave enlightened to the true meaning of Juneteenth, also known as “Freedom Day!”

Celebrating Juneteenth

June 17

ViBe Creative District Outdoor Stage virginiabeach.gov/culture

Join folks from the Virginia African American Cultural Center in the ViBe for storytelling, music, dance and more from 9 AM to noon. Free admission.

Juneteenth in the Park

June 17

Town Point Park www.festevents.org

Celebrate African American History — Freedom Day — with food, games, music, presentations, prizes, & more. Learn about career re-

sources, job opportunities as well as health and financial wellness.

Chalk The Walk

June 17

Between 16th & 18th Streets at The Oceanfront Boardwalk beacheventsvb.com

Chalk the Walk takes over the Virginia Beach Boardwalk as artists gather to turn the boardwalk into an impromptu canvas of color. At Chalk the Walk, participants draw four by four-foot chalk drawings for three blocks along the boardwalk.

2nd Annual Lawnmower Beer Festival

June 17

St. George Brewing Company stgbeer.com

Some 20 regional craft breweries compete for who has the best crisp, light lager. Sample and vote for your favorite. Noon to 5 PM.

Summer Festival

June 17

Elation Brewing

An all-day beer and music festival featuring Paul Urban & Friends and the funky Jay Morgan Gand, plus flip cup races, corn hole, and the release of Imperial Lager Zuper Pils.

Phabulous Phoebus Street Festival

June 17

Downtown Phoebus

A colorful, fun street party with entertainers, food, drink and retail vendors.

Dance Like Dad Pride Party

June 17

The Wave Sounds like disco music, New Wave and more dance party fun.

Friends of Dorothy Pride Party

June 18

The Virginia Beer Company

Food t ruck, drag bingo and live music while enjoying a pint of Friends of Dorothy Pride IPA. $10 from every barrel of beer sold goes to support Equality Virginia.

2nd Annual Peninsula June Teenth Freedom Fest

June 18

Darling Stadium/Hampton

757-287-0277

Family activities, cultural arts and entertainment, book authors, health and wellness screening, and music headliner EU, best known for the song “Da Butt.” Free admission.

Juneteenth Freedom Day

June 18

High Street Landing, Portsmouth Celebrate African American freedom! It’s Juneteenth Freedom Day, a free, family-friendly event brought to you by the City of Portsmouth and the Urban League of Hampton Roads. Featuring soul food trucks, artisan vendors, and local and national bands, including headliners 702 and Montell Jordan. 1-9 PM.

Ghent Pride

June 20, 6-10 pm

The Palace Shops & Station, Norfolk www.ghentnorfolk.org

Ghent Pride will be hosted by our Master of Ceremonies Mercedes Douglas and Robert Roman with performances by local Drag Legends including Sandra Lopez, Jennifer Warner, Jasleane Jade, Diana Rhoss and more.  DJ Pup will be spinning music all night with special surprise appearances all night long. Live music, cocktails, food and more. Benefits LGBT Life Center, Hampton Roads Pride, the Ghent Business Association, and others.

Pride Night at The Chrysler

June 21

Chrysler Museum of Art

Get dressed up and visit some of the greatest pieces of art the region has to show.

10th Annual Pride Block Party

June 23

The NorVa hamptonroadspride.org

The fun, day before party like it’s 1975.

Hampton Roads Pride Fest

June 24, Noon to 8 pm

Town Point Park, Norfolk

www.hamptonroadspride.org

Entertainment, music, vendors, food, drink, and activities. Plus the not-to-be-missed Boat Parade.

Silhouettes By The Sea

June 24

Virginia Aquarium & Marine Sciences Center

A night of food, fish, fun, and fundraising to benefit Virginia Beach Chorale.

On June 18, the Virginia Arts Festival will present Keb’ Mo’ on the Lawn of the Museums of Colonial Williamsburg. The 3-day music festival includes The Woods Brothers and Kenny Loggins’ farewell concert. More info at vafest.org

Pride at The Beach

June 25

Neptune Park @ The Oceanfront

A day at the beach with food, drink, and retail vendors. Plus take time to lather the suntan lotion and hit the sand.

Totally Tribute Music Fest

June 30-July 1

17th & 24th Street Stages @ Oceanfront

The Totally Tribute Music Fest is a grand celebration of the music brought to the world by some of your favorite artists and bands. This highenergy, part-serious, part-camp, but pure performance weekend of tribute bands guarantees something for every rocker. Schedule as follows:

FRIDAY, JUNE 30

17th Street Park: Nirvanna (Nirvana)

24th Street Park: 84 (Van Halen) with special guest Excitable (Def Leppard)

SATURDAY, JULY 1

17th Street Park: Heartbreaker (Heart)

24th Street Park: The Four Horsemen (Metallica)

SUNDAY, JULY 2

17th Street Park: Badmotorfinger (Soundgarden) and Badmotorfinger (Audioslave)

24th Street Park: Nightrain International (Guns N’ Roses)

40th Annual 4th of July Great American

Picnic & Fireworks

July 4

Town Point Park, Norfolk

Enjoy food vendors serving hot dogs, BBQ, seafood and burgers with live music and fireworks (9:30 PM). Free admission.

Stars & Stripes Celebration

July 4

17th, 24th, and 31st Street Stages

Multiple live performances on oceanfront park stages will attract thousands of visitors and residents of Virginia Beach to a “starspangled” salute to this great country of ours at Stars & Stripes Celebration, July 4.

Shaggin’ 4th of July Celebration

July 4

High Street Landing, Portsmouth

A Beach Music party on the 4th of July to show off your shag stepping.  The Original Rhondels play beach music from 5:00 p.m. – 8:00 p.m. with a follow up performance by the Tidewater Concert Band playing patriotic music from 8:00 p.m. – 9:30 p.m.  Fireworks show at 9:30pm –visible from the north end of the seawall.

PERFORMING ARTS

Chrysler Hall

Dumpster Dudes, June 24

85 South Show Live, July 2 sevenvenues.com

Harrison Opera House

Lazer Invazion, June 30

Richard Elliot & Rick Braun, July 15 sevenvenues.com

Little Theatre of Norfolk

“Hero or Villain,” June 23-25 ltnonline.org

Little Theatre of Virginia Beach

Jimmy Buffett’s “Escape to Margaritaville,” July 14 through August 6 ltvb.com

Sandler Center for the Performing Arts

“The Modernists,” June 22 sandlercenter.org

Tidewater Community College

26th Annual Shakespeare in the Grove, June 21-25, Chesapeake Campus tcc.edu

Tidewater Winds

Summer Breeze Big Band, July 9, Norfolk Collegiate

Summer Breeze Big Band, July 11, 24th Street

Stage

Summer Breeze Big Band, July 12, Chesapeake City Park tidewaterwings.org

Virginia Arts Festival

June 16, The Wood Brothers, Lawn of the Museums of Colonial Williamsburg

June 17, Kenny Loggins, Lawn of the Museums of Colonial Williamsburg

June 18, Keb’ Mo’, Lawn of the Museums of Colonial Williamsburg

June 17, A Musical Tribute to Luther Vandross, Attucks Theatre More info at vafest.org

Zeiders

TA Gatling, June 16

Plan B Comedy, June 17 Musical Theater Open Mic, June 20 Virginia Beach Vocal Jazz Summit, June 23-25

The Barbie’s Brunch, July 8

The Barbie’s Brunch, July 15

Plan B Comedy Show, July 15 thez.org

YOUR ARTWORK HERE

Clayton Singleton 2018

Heart Pulsates with Fantastical Intrigue

By Betsy DiJulio

Born of shattering heartbreak and a deeply integrated process of healing, Echoes of the Heart embodies artist Claudia Bueno’s immersion in open-hearted, wholehearted living.

The mesmerizing immersive experiences she and her team create through sculpture, drawing, light, sound, circuits, motors, wind, and film are meant to visually dazzle, emotionally resonate, and intellectually reverberate, encouraging inner growth that springs from a place of vulnerability and openness.

By harnessing energy, consciousness, and spirit through the “portal of the heart” in accordance with her disciplined practice at Hridaya Yoga meditation retreats in Mexico, the world-renowned Venezuelanborn artist—who has made her home in Sedona, AZ for the last two years—seeks evolution and transcendence for herself and others within a connected community.

Like the four chambers of the heart, Echoes unfolds in four installations be-

ginning on the exterior of the Hermitage and continuing on the first and second floors. Metaphors of the Heart, a monumental wire mesh sculpture glowing with breathtaking colored lights, seems to grow out of the museum’s façade like a three-dimensional painting in space. Characterized by rhythmic pulsations and waves of energy, biological forms burst forth into expansive, layered, and meticulously considered metaphors derived from the likes of twisting arteries, branches, vines, and octopus tentacles, as well as blooms and blossoms.

Through October 8 Hermitage Museum and Gardens

sculpture in the form of an abstract heart sending more signals to the body than even those sent by the brain. Throughout, the radiating expressions of life and vitality are choreographed to mystical soundscapes by Brazilian-born healer/musician, Porangui, a well-known figure at transformational festivals where community building, creative expression, healthy living, and social responsibility are nurtured and celebrated.

thehermitagemuseum.org

COLLABORATORS: Natalie Connell

Ben Timby

Mads Christensen

Adolfo Bueno

Patricia Bueno

Brittany Mattrella

cal storybook dioramas are each devoted to a theme of the heart: opening, closing, longing, belonging, innocence, challenges, seasons, and the somatic. Distilled from interviews with 50 volunteers, ages 5 to 80, audio tapestries of their voices accompany each phantasmagoric wonderworld of miniature scenes and symbols to which Bueno joyfully refers as “a complete craziness of mixed media,” a continuation of a childhood happily spent in her mother’s studio “making everything.”

In the adjacent gallery, Pulsating Heart Portal is a rectangular installation of exquisitely delicate line drawings in light for which Bueno is widely acclaimed. She has been evolving this proprietary technology for a decade resulting in dynamic drawings of nature-inspired forms with increasing depth and intricate detail. Everything emanates from abstractions of the heart and lungs with each layer of lacelike forms expanding, contracting, and morphing into the next, creating their own shapeshifting universe of undulating organic patterns.

The experience concludes with a space for reflection. Here, visitors are invited to thoughtfully consider what they have seen, heard, and felt, and to write love letters to themselves, others, or the larger world and pin their words from the heart to the wall for others to read and contemplate.

These forms morph into snakeskininspired patterns imbuing the Snake Tunnel with associations of shedding and transitioning as it leads visitors into the museum’s darkened foyer which has been transformed into The Mother Heart, a light

On the second floor, visitors enter The Heart Temple, a sacred space of shrines at the top of the staircase, itself a curated transitional space lit with candles and illuminated by quotes. Making their first appearance in Bueno’s oeuvre are eight wall-mounted wooden altars, their doors emblazoned with laser cut abstractions of anatomical hearts.

Brilliantly lit from within, these magi-

Echoes, which was two years in the making, was spawned when curator Carrie Spencer discovered Bueno on Colossal, an international online platform for contemporary art, saw her work in person at Meow Wolf, and then, in her words, “went down the Claudia Bueno rabbit hole.” Bueno’s work was unlike anything that had been shown in this area and would activate both the galleries and grounds in ways for which the Hermitage has become known. Studio and museum visits followed an initial meeting on Zoom which resulted in Bueno’s proposal for Echoes, her largest installation to date, requiring a six-week installation residency.

From an exquisitely personal place in the artist’s heart and shared community springs universal truths and the heartfelt offering of a panacea for both our individual struggles and a polarized world.

Claudia Bueno: Echoes of the Heart

Celia Lopez

Porangui FROM HERMITAGE: Beau Turner

Cristina Fletcher

Jon Brashears

Tabatha Anger

Claudia Bueno’s fantastical art exhibition extends to the exterior of the Hermitage Museum. Photo by Lindsay Collette.

4 To Explore

Compiled by Staff

“Nudes: A Contemporary View”

June 17 through August Linda Matney Gallery

757-675-6627

Curator Diana Blanchard Gross teams with the Matney Gallery to produce a new look at the human body as artists have done for centuries. The opening reception is June 17 at 5 PM.

Beyond Van Gogh

July 6 through September 2

Virginia Beach Convention Center

vangoghvirginiabeach.com

Imagine being completely immersed in more than 300 of the greatest works of postImpressionist artist Vincent Van Gogh. Now imagine experiencing all of this art liberated from its two-dimensional limitations into a three-dimensional experience that exhilarates every sense and brings to life one of the most influential artists the world has known. It ’s all part of Beyond Van Gogh: The Immersive Experience, produced by Paquin Entertainment Group, which has sold over 5 million tickets globally making it one of the most popular current traveling exhibitions. Co-presented by Virginia Arts Festival.

“Collector’s Edition”

July 7 through December 31

Virginia Museum of Contemporary Art virginiamoca.org

Are you curious about the artwork people in your community collect? Some of it might surprise you. In this exhibition, Virginia MOCA showcases works of art from the personal collections of notable folks from the region and beyond, including Hugo McCloud’s “Take a Seat” from the collection of Meredith and Brother Rutter.

Preston Singletary: Raven and the Box of Daylight”

Through July 2

Chrysler Museum of Art chrysler.org

Last call. If you’ve not seen this fascinating, cutting-edge exhibition featuring the unique glasswork of Native American Preston Singletary, make it a priority. Singletary melds traditional glassblowing with Pacific Northwest Indigenous art to tell the story.

& McDonald’s Our Founding and Forever Mission Partner since 1974

Our Founding and Forever Mission Partner since 1974

From the moment the first Ronald McDonald House opened, McDonald’s franchisees, suppliers, employees, and customers have helped RMHC provide stability and

From the moment the first Ronald McDonald House opened, McDonald’s franchisees, suppliers, employees, and customers have helped RMHC provide stability and vital resources to families around the world. The generosity of time, as well as funds and in-kind services provided by the McDonald's community, have helped RMHC positively impact millions of children and their families since 1974.

Oozlefinch Gets Boozy with Sodas

By Jeff Maisey

As growth in the craft beer industry appears to be slowing due to shifts in younger demographic tastes in favor of craft cocktails and corporate-produced hard seltzers like Truly and White Claw, independent breweries are adapting by exploring new avenues to appeal to an ever widening river of consumers wanting a friends and family experience, but without a stout or Belgian-style ale.

Among Virginia-based breweries diving in to the craft soda market is Oozlefinch Beers & Blending in Fort Monroe/Hampton.

Alcoholic craft sodas became a fad a few years back with national brands like Mike’s Hard Lemonade and Not Your Father’s Root Beer.

Taking a page from this approach, Oozlefinch has launched a new brand of innovative hard sodas dubbed Boozy Soda.

Out of the gate, the core flagship Oozlefinch Boozy Soda line includes Grape Soda, Cream Soda, Orange Soda, and a Lemon Lime Soda, which founding majority owner and CEO Russ Tinsley said is a Mountain Dew inspired variant.

The hard sodas are packaged in fun, brightly colored cans sure to grab the attention of scanning consumer eyes. They also pack a Batman “pow” punch — 7.5% ABV.

I recently caught up with Tinsley to learn more about is new product.

VEER: What trends are you seeing in today’s beverage market?

Tinsley: It’s hard to say, the market changes so often that chasing trends just gets exhausting. Our decision to put such a big stake in the hard soda game was made because we have dialed in the processes with our N00d W00ter series over the last few years and we are confident that no one else (outside of our good friends at The Answer) are doing them at the level that we are able to do them. The hard sodas are also an opportunity for us to maintain our high standards for flavor, aroma, and color while offering a product at a very reasonable price point during a time where price matters to consumers more now than it ever has.

VEER: What intrigues you about the hard soda market from a brewer’s perspective? Will you use cane sugar?

Tinsley: What intrigues me the most about our Boozy Soda line specifically is the nostalgia we’ve tapped into with all of them. These sodas don’t just resemble your favorite sodas, they mirror them almost identically…but with a high ABV kick! It never gets old seeing the smile on someone’s face after they taste these sodas for the first time and are immediately taken back to better days!

As far as cane sugar goes, we do have plans to do cane sugar sodas down the road.

VEER: From start to finish, how long do hard sodas take to produce?

Tinsley: We have put a lot of time and study into perfecting the process, which I’m proud to say includes a base without all the common off-flavors that you find in most seltzer products. All in, we are able to manufacture our hard sodas and have them packaged in under two weeks.

VEER: Will you be producing a core set of flagships or will it be flavors of the week?

Tinsley: We do have flagship sodas now…the original Oozlefinch Boozy Soda line includes Grape Soda, Cream Soda, Orange Soda, and a Lemon Lime Soda which is a Mountain Dew inspired variant. They will all four be offered as core offerings from Oozlefinch and will always be available moving forward.

VEER: From a business perspective, what sales percentage boost do you forecast?

Tinsley: It’s hard to say seeing as how we just dropped the sodas a month ago. Our goal was more to create consistency in offerings to distro at a price point that folks can afford, especially since the market is trending heavily against more expensive offerings.

VEER: Are hard sodas more profitable to produce than beer?

Tinsley: That depends on the beer. They are far more profitable than our pastry sours because those styles are crazy expensive to produce, but not quite as profitable as some of our more traditional style Nost beers.

VEER: Will sodas be Oozlefinch brand or something else?

Tinsley: All sodas will stay under the Oozlefinch brand. We reserve Nost for those traditional styles that made us fall in love with beer in the first place, long before we started adjuncting the crud out of beers. If we add anything to an offering that isn’t considered a traditional ingredient, it will always fall under the Oozlefinch brand. We look at it like this, Oozlefinch is for experimental and Nost is for traditional tostyle beers only.

VEER: Hard lemonades and root beers were semi-popular a few years back. How will your products differ?

Tinsley: All of our sodas are seltzer based and made with non-gluten containing ingredients.

Outside of that, nostalgia is key for the Oozlefinch Boozy Sodas. We set out to make something that covers a much more broad demographic, and I believe we’ve achieved that.

VEER: Will your hard sodas be packaged in bottles, cans, and/or draft? What logo design and colors are you planning?

Tinsley: All sodas will be packaged in 16oz cans & offered in half and sixtel draft options. Fun and bright labels, with a new Oozlefinch character that folks haven’t seen before. Other than that, the colors on each label correlate with the product that is inside the package. Simple and easy!

VEER: What are your plans for its distribution?

Tinsley: We are pulling a lot of focus back instate so we can take care of our home market first. We haven’t always done things that way in the past, but are now making moves to ensure Oozlefinch & Nost are household names here in our home state moving forward.

VEER: Will you also produce non-alcoholic sodas?

Tinsley: I would say it is very likely. We are definitely having these discussions, but want to keep our focus on the current business plan and not lose sight of what our current goals are.

VEER: What is the price point for consumers?

Tinsley: Price point here in Virginia should be set to $12.99/four pack and around $7/pint on draft, but we can’t guarantee what every account may assume is an appropriate price point for the sodas

at their establishment. That price-to-consumer fits with margins that retail accounts normally take, so we hope that all Virginia retailers will get behind our suggested price point.

VEER: Will Oozlefinch and Nost beer production be altered?

Tinsley: Production will be altered for both. Moving forward we will only be offering the more exclusive styles that we produce in-house, both on tap and in four pack to-go options. If you want those styles, you will have to come see us to get them. However, Oozlefinch will keep the Das Yummy & Party Dino pastry sour series for distro and we will also be adding a new Hazy IPA series to that mix. Our goal with these changes is to not only make room for the amount of sodas we are now producing, but to make our distro offerings a lot more consistent moving forward. We’ve had a ton of fun with the hype game up to this point, but it’s time for us to focus on growth and scaling our brands in a way that will make both Oozlefinch & Nost a force to be reckoned with throughout the commonwealth of Virginia and beyond.

VEER: Any additional aspects of sodas you’d like to inform readers of?

Tinsley: If you’re looking for a new go-to crusher and haven’t tried out these 7.5% ABV sodas, you’re missing out. Also, if any retail accounts are interested in bringing the sodas on as draft or to-go options, they can reach out to Sales@ OozlefinchBeers.com and our amazing sales rep, Hope, will be happy to assist them.

A Post Secondary Beer Education

By Jeff Maisey

Standing at the urinal in the restroom you ’ll come face-to-face with “ The History of Beer.”

The colorful, informative poster illustrates how beer developed, beginning with Chinese villagers who brewed fermented boozy drinks nearly 8,000 years ago. It notes barley beer in the Iranian mountains being brewed in 3,000 BC. Plus, fun, historical highlights such as the first reference — in 1721 — of a dark, strong brew known as a Porter, and the 2010 production of a 55% ABV ale dubbed “ The End of History.”

If it seems education is literally frontand-center of nearly everything at Post Secondary Brewing in Portsmouth, you’d be correct.

The brewery is owned and operated by the husband/wife team of Christopher “ Topher ” and Susan Slater. By day, Topher is an electronics and robotics teacher (23 years) at Hickory High School in Chesapeake.

“ We wanted to do an educational-centric brewery,” explained Topher. “ What Post Secondary loosely translates to is what are you doing after school. For me, I’m brewing after school. But, it also references post secondary fermentation.”

Reenforcing the education theme, Post Secondary’s smartly created logo features a hop cone wearing a graduation cap with a piece of barley used as the tassel. The logo is painted on the wall behind the bar and is printed on all of the merchandise.

Topher brews on a 3.5-barrel system. The tiny, narrow brewhouse is visible to visitors through large glass windows as are the stacks of malts and other ingredients used in the brewing process. Again, like everything else, tying in to an educational experience.

The brewery’s core lineup of beers since its April ’s Fool ’s Day opening includes Creamsicle Ale, Single Hop Lemon Drop IPA, Creme Br ûlée Stout, Oatmeal Stout, and Lost Recipe (golden ale). The latter has a funny story.

“I was building a recipe for something I had never brewed before. When I came

Susan and Topher Slater

back to make some notes, it was not saved onto my computer and I lost the recipe,” shared Topher.

Let’s hope he remembers well enough to replicate Lost Recipe because it’s an A+ fine golden ale. Customers, agree as it’s the top selling beer thus far.

Topher also mentioned he wants the brewery to be known for its stouts, and the homebrewer-turned-pro really nailed it with his Oatmeal Stout. On nitro, the head remains until the last drop is done. The rich, dark body is full of roastiness and not overly heavy.

Moving forward, Post Secondary Brewing will maintain four or five flagships on tap, but the scientific mind of a robotics teacher is enthusiastic about serving experimental, small batches of beer.

“It’s a small brewery. We’re very nimble and we’re going to be doing lots of different things,” Topher shared in summary. “I’ m looking into alternative bittering products. We are an ale house.”

And thus, a new chapter in brewing begins in Olde Towne Portsmouth.

COMING SOON!

We are re-locating our original Mermaid Winery location from Ghent to 101 Granby Street in Downtown Norfolk. Our new home is both a registered National & State Historic Landmark on the corner of Main & Granby Street. The building is a Beaux-Arts NeoClassical style and was built in 1908 as a bank. The building’s exterior is made of limestone and has stately, massive columns. The interior is spectacular with intricate ornate plaster. The beauty of this building is truly unparalleled.

Norfolk Wine Club Members: you will be able to pick up your June wine at our Virginia Beach location or we can hold it for you until we open Downtown. All members will receive grand opening celebration invitations coming soon.

New Realm Expands Virginia Beach Capacity

By Jeff Maisey

In 2018, New Realm Brewing Company acquired the gigantic, short-lived brewing facility of San Diego-based Green Flash Brewing Co. in Virginia Beach. The brewing capacity at that time was 40,000 barrels/year.

New Realm had only recently opened its Atlanta headquarters, however, its quick thinking ownership saw an irresistible opportunity when Green Flash’s east coast state-of-the-art production brewery hit the auction block.

Co-founding brewmaster Mitch Steele said New Realm wanted to be a Southeast brewery and the location in Virginia fit that near-term goal.

Since 2018, New Realm has added several 100-barrel fermenting tanks to the facility to meet growing demand as well as for contract brewing, which Steele said accounts for nearly 20% of the brewery’s total output.

Recently, New Realm purchased at auction — ironically from Green Flash’s San Diego location — ten 250-barrel tanks. The fermentors were then trucked coast to coast.

To find out more about New Realm’s expanded capabilities, I reached out to Steele for the following conversation.

VEER: What was attractive about the Green Flash location in Virginia Beach? New Realm had only recently opened its headquarters in Atlanta.

Mitch Steele: It was a shift in plan for us. We hadn’t really been focusing on Virginia, but we were running out of capacity at our Atlanta brewery — our original brewery.

We were just starting to talk about maybe building a production brewery, and when the Green Flash brewery became available we took a look at it and thought if we want to be a Southeast brewery then Virginia fits what we want to do.

It was interesting. In the end it turned out to be a great deal for us and gave us a tremendous amount of capacity. It worked out really well.

VEER: After you acquired the Green Flash space did you build additional brewing capacity?

Mitch Steele: We added some 100-barrel tanks a couple years ago, just a few. We took four 60-barrel tanks to Virginia Beach that were originally destined for Atlanta.

VEER: It’s my understanding that New Realm just recently added some significant capacity, true?

Mitch Steele: That’s right.

The company that owns Green Flash put that whole brewery in San Diego up for auction. We were able to get ten 250-barrel tanks. We bid on them and won them. We brought them into Virginia Beach.

VEER: Was the acquisition of the new fermenting tanks based on increased demand and need for New Realm’s product line? Or is New Realm planning to expand into other markets and increased production will be needed?

Mitch Steele: Our philosophy and our goal is to only sell beer in the states where we have an operating brewery and taproom. That has not changed.

We ran out of capacity in the summer last year. That’s what really got us looking at this. There was some beer we wanted to brew but could not brew last year.

When these tanks became available we just decided to fill up the whole cellar because we figured we’d grow into them, and at a pricepoint that was pretty attractive.

VEER: What are New Realm’s most popular brands in the Virginia market? Is Hazy Like a Fox your best seller?

Mitch Steele: Yeah, Hazy Like a Fox is doing great. It’s been a great beer for us for several years.

We are seeing some increased volume with a beer called Tank Dog, which is a hazy Double IPA that we do in 19.2-ounce cans in convenience stores. It is surprising how well it is doing.

We have an American lager called Blackberry Smoke Lager, which is a collaboration with

the rock band Blackberry Smoke that’s starting to take off. We’ve got Tropic Dream, which is doing well as a seasonal beer.

Then we have the old standbys. Euphonia Pilsner is one of our favorite beers. That one is continuing along at the pace it’s been doing.

VEER: From your vantage point, what trends are you seeing in today’s craft beer market? Over the past three years lagers were gaining some steam, but hazy IPAs still seem to dominate, don’t they?

Mitch Steele: Yeah, I think that’s still the case.

Lagers, pilsners…I’m seeing a lot of Czech lagers. A lot of small breweries are really increasing their focus on lagers. We’ve released a few new ones over the last year.

I think that’s a really neat thing because it takes people back to beer flavored beer.

IPA is still king. Hazy IPAs are still number one, but we are seeing a little bit of chatter out West Coast IPAs kinda coming back to the forefront. So we’re watching that.

There are a lot of people doing N/A beers and non-beer products like seltzers, spreading their wings and branching out.

VEER: I understand Bold Mariner Brewing Company has an arrangement with New Realm

for contract brewing to produce it’s best selling brand. Is contract brewing part of your calculation in needing more brewing capacity in Virginia Beach?

Mitch Steele: Without speaking specifics about particular breweries because of confidentiality situations, contract brewing is a big part of our business. We have a lot of partner breweries that are brewing their beer with us. That’s something we see as an opportunity as things move forward.

VEER: Would you say contract brewing accounts for 20% of your business?

Mitch Steele: Ummm, yeah, probably.

VEER: Before the pandemic there was discussion of a New Realm satellite or brewpub opening in North Suffolk. Is that still a plan?

Mitch Steele: Yeah, that’s still being worked on. I don’t have the exact target date but I think it’s some time in 2024.

VEER: Why open a second tasting room within the same market where you operate such a successful business?

Mitch Steele: Again it was an opportunity presented to us by the people who own our current building in Virginia Beach. They are building-out a shopping area that gives us an opportunity to operate a small brewery there and do some pilot brewing in Virginia, which right now we can’t do (in Virginia Beach).

Our brewing team in Virginia Beach will be doing the brewing on that system. It’ll give them some creative freedom.

The site — at least the rendering — is absolutely gorgeous. It’s going to have a beautiful outdoor area and taproom.

VEER: The live music series at New Realm in Virginia Beach really seems to be taking off. How do you see the music component enhancing the experience of visiting the brewery?

Mitch Steele: Mitch Steele: That’s been a really nice surprise.

Tommy Keipe (GM) and Meaghan Jackson (Events Coordinator), in Virginia Beach, have been working with people to bring in some really good acts. It generates some really good excitement and gets a lot of people into our place.

We’ve really enjoyed it as well.

We’re not located right on the water, so people have to decide to come to New Realm. We thought this would be an extra incentive to bring people to our place and enjoy what we have to offer.

Hazy Like A Fox is one of New Realm Brewing Company’s most popular brands

Winning Big with Aloha State of Mind

By Jeff Maisey

It’s a big deal to win an award — gold, silver or bronze — at the World Beer Cup competition. For a brewery to garner consecutive golds for the same entry is nothing short of amazing.

Such good fortune was recently bestowed upon COVA Brewing Company, a small, neighborhood brewery in the East Beach section of Norfolk, when Aloha State of Mind scored its second gold in the Contemporary Gose category.

Aloha State of Mind is a smooth, beautifully brewed sour made with passionfruit and hibiscus. Both the recipe and name were inspired by head brewer Matt Topping’s time in the Aloha state. Topping lived on the Hawaiian island of Maui for nearly three years and worked as a brewer at Maui Brewing Company.

COVA Brewing Company beers are almost exclusively sold at the brewery. They operate a 7-barrel brewhouse with three 7-barrel fermentors and two 15-barrel fermentors.

I sat down with Matt Topping over a couple of Aloha State of Mind beers to discuss COVA Brewing Company’s recent accomplishment.

VEER: Were you able to attend the World Beer Cup Awards ceremony in Nashville and can you reflect on winning gold with Aloha State of Mind in the Contemporary Gose category?

Matt Topping: This was the first time getting to go to one of the major award ceremonies. I was there with my marketing manager from COVA, her husband, and my wife. We were all up on stage to receive the award. That was a really exciting experience.

In the fall we won silver with our POG Gose (passionfruit guava) at Great American Beer Festival (GABF). And now we’ve won back-to-back golds for Aloha State of Mind at the World Beer Cup.

VEER: How did the idea come about to brew a passion fruit gose? Did it start with your success as a brewer at the now defunct Coelacanth Brewery?

Matt Topping: The biggest seller at Coelacanth was the Passionfruit Gose. The last year we were open that was over 75% of our sales. It got good feedback at GABF, but nothing that constituted winning.

I’ve been constantly tweaking, honing-in that recipe.

At COVA, we have the opportunity to be able to make dozens of different types of goses and sours and play around with different types of fruits, spices, herbs and things.

Passionfruit, I think, is an outstanding pairing with a sour beer. It’s already a tart fruit on its own. It’s got beautiful aromatics to it and the flavor comes through nicely.

We’ve done some beers with peach. Peach is great, but it takes a lot of peach for that flavor to come through. A lot of times you have to add apricot to make it taste more like peach.

This (Aloha State of Mind) tastes like passionfruit scooped right out of the fruit.

A little bit of salt keeps it refreshing. Then we added hibiscus.

I got to spend several years in Hawaii as did my wife. We wanted to make something that was as reminiscent of the islands as we could. Passionfruit is a very big thing out there. Hibiscus is on every street all over the place.

If you think of Hawaiian print T-shirts and swim shorts hibiscus flowers are on them. So between passionfruit and hibiscus it seemed like the perfect pairing for reminiscing about Hawaii.

VEER: When you develop a recipe for a beer, what is the process like for naming the beer and creating the branding for a product?

Matt Topping: Our guidelines are essentially that we want something that fits under four broad categories at all times.

We want a dark brand; right now it’s Coffee Stout. We have a group of sour brands. We have a hoppy beer; mostly it’s Hazy IPAs or West Coast IPAs. And then, light beers. That could be East Beach Blonde. It could be a pilsner, lager, all of that.

Those are the major beer drinking categories. That’s where we start.

This one (Aloha State of Mind) we named as our second flagship, so we’ll be offering it more regularly. East Beach Blonde is one as well.

Of the 12 beers we have on tap now, three of them are first-time brews. A couple are regulars.

We wanted Aloha State of Mind to be reminiscent of Hawaii so the name had to be. One of the things about Hawaii is you’re either living there — and it is a privilege to live there because it’s an amazing place — or you’re vacationing there. No one’s sad there. It’s a happy place. When you taste this it brings you back to Hawaii and the best vacation of your life. It’s hard not to have a smile.

VEER: Is it important to have flagship beers for those regular customers who hope to have their mainstay choice available, and especially a two-time World Beer Cup gold medal winner?

Matt Topping: I think it can be helpful, but for us we really try to make sure the customers know about the light, dark, hoppy and sour.

Maybe we don’t have the pilsner you really liked, but you can try this Helles that’s not that far off. Even if it’s not the same exact beer you loved…if we ran out of Aloha for a week, we have POG Passionfruit Guava. You’re probably going to like that one too.

VEER: Some wines seem as though they were created specifically for award competitions to gain notoriety. Do you view some beers as best choices for national and international competitions?

Matt Topping: Definitely.

This one — Aloha State of Mind — we were happy with how it sold, tasted, and the customer experience around it.

We were happy with the name, happy with everything to the point that we turned it into one of our flagships. We weren’t necessarily pushing the flagship on it. We first brewed it two years ago. We gave it some time and kept rereleasing it. It was through customer response.

Having it then — less than a month before we made it a full-time brand — win a second consecutive major international award is huge. If I could have picked one beer to win it would have been this one for sure.

Matt Topping enjoys the taste of success — and Hawaii — at COVA Brewing Company.

Un-Tarnished Medals

Virginia Beach distillery reaps seven awards at International Spirits Competition

By Jim Roberts

Coastal Cocktails—the ready-to-drink beverages made in Virginia Beach with spirits distilled at the Historic Cavalier Hotel—won four awards at the American Distilling Institute’s 2023 International Spirits Competition.

Two of Coastal Cocktails’ newest flavors, Gin Blackberry Bramble and Vodka Cucumber Collins, won gold medals, while the ever-popular Vodka Orange Crush won silver. Blackberry Bramble also won a silver medal for excellence in packaging.

“This is extremely refreshing for summer sipping on a sunny deck,” one of ADI’s 50 judges said about the Blackberry Bramble.

Tarnished Truth Distilling Co., which produces Coastal Cocktails, won three more medals: gold for its Fourth Handle Gin and silvers for its Discretion Single Barrel Virginia Straight Bourbon Whiskey and Old Cavalier Bourbon Cream.

“ We’re always happy to get awards,” Andrew Yancey, Tarnished Truth’s co-owner, told Veer Magazine after the winners were announced. “We strive to create a premium product, and that goes for not only the taste, the flavor, but the marketing behind it, the labels behind it, the design and creative. I think we really capture that with all of our products, and it kind of shows in these awards.”

Yancey said he’s especially proud of the Fourth Handle and Blackberry Bramble awards.

“Our gin was really a passion product for us,” he said. “Knowing that we won gold for the gin, and we also won gold for the Coastal Cocktail that uses the gin really kind of solidifies that we’re doing that right.

“It’s just such a hard thing to make,” he added. “The botanicals that go into it are so particular and precise in their amounts. I’m very proud of it. I know my master distiller is really proud of it because he was the one that really did the hard work in developing the recipe for the gin. I mean, we’re happy about all of them, but those two in particular are really great for us internally as a team.”

Yancey will pick up the seven awards during ADI’s 20 th anniversary conference, which will take place in August in Las Vegas.

“They’ll have all of the spirits that were sampled and judged for everyone to try,” he said. “Most of the distillers that submitted their stuff are there. … It’s a really good community of people that are pretty passionate. They’re looking for feedback, and they’re looking to grow their brand just like us.”

What’s next for Tarnished Truth?

Yancey says the team is finalizing recipes for two new Coastal Cocktail flavors: Mango Crush

and Peach Punch. On the bourbon side, they’re close to releasing some of the Discretion whiskey that has been aged in Pedro Ximenez sherry casks.

“It’s really good,” he said.

He’ll have to wait until 2024 to get the American Distilling Institute’s opinion.

For more information, visit CoastalCocktailsVA.com and TarnishedTruth.com or search for the brands on Facebook and Instagram. Tarnished Truth is also on Twitter.

Virginia Distillery Co. Claims Two Awards of its Own

Tarnished Truth isn’t the only Virginia distillery gaining international attention. Virginia Distillery Co. won the Distillery of the Year award in the 2023 London Spirits Competition, and its Courage & Conviction American Single Malt Whisky was named Whisky of the Year.

Virginia Distillery was founded in 2011 and was featured in Veer Magazine in 2015—just before its distillery and tasting room opened in Lovingston, a small town about 30 miles southwest of Charlottesville.

“Virginia has the chance to foster the growth of the distilling industry,” Virginia Distillery’s director of operations told Veer in 2015. “I think if it does so, it can really reap the benefits through tourism and just putting Virginia on the map as a commonwealth that creates amazing craft spirits—not just whisky, but brandies, vodkas … there’s stuff all over the map.”

For more information, visit VaDistillery.com or search for Virginia Distillery Co. on Facebook, Instagram and Twitter.

Dogs Come First at Pups and Pints

By Marisa Marsey

Woof, woof! Arf! Bark! Bark! That’s Sheepish Onyx, my seven-month-old Mini Sheepadoodle, tail wagging in prestissimo tempo because she’s at Pups and Pints. I’d better turn on Google Translate for Dogese – stat – as she’s eager to weigh in on our area’s first dog park-taproom.

Can we stay? Can we stay? Pleeeeeeease????

Alright. Down, girl.

“Aww. That makes my heart full,” Alex Lawson says in reply to Sheepish’s hindlegs-rearing reaction. Lawson conceived

the crossbred business when a career move led her to Houston.

“I wanted to make friends, but I was in my 30s. I was no longer into the bar scene that worked when I was in my 20s at the Oceanfront,” says the Brooklyn native. “The best way turned out to be the dog park. We’d bring beer and wine and hang out.”

When she returned to Hampton Roads a few years ago, she unleashed her plans, teaming up with Christina Sims and Alex Raad. Hence the “Est. 2020” in the paw-printed logo

even though they just opened in a former Virginia Beach garden center in April.

Pups and Pints is foremost a canine country club where dogs can run free on two acres with a daily pass or monthly/annual membership. Only humans are allowed inside the handsome 75-seat restaurant/ bar due to health regulations, but there’s a walk-up bar and fetching al fresco area with food and beverage service for twoand four-legged creatures to enjoy even without a pass or membership. Decked out with Adirondack chairs and leash clipequipped picnic tables (crafted by Hardin Wood Designs), fire pits and games galore it’s quite the hipster meetup (did I mention Lawson is originally from Brooklyn?).

Oh! Wow! Nose twitch. What’s that smell? Sniff. Sniff. Grilled chicken bits… mmm! Beef burger…num, num, num! Not table scraps…full dog menu! Cookies! Donuts! Peanut butter-banana “pup”cakes! Face licks for the baker! Could you mix some squirrel into the blueberry-carrot biscuits next time?

Thanks for that ultimate in Yelp reviews, Sheepish. Chef Mason Carter runs the kitchen and credits Sam Giuliano for the all-natural dog treats. The people food includes girth-y gourmet hot dogs with names like the Boston Terrier (on a split brioche bun with spicy mustard and sauerkraut) and the Chihuahua (in a flour tortilla with queso, pico de gallo and pickled jalapeños) plus flatbreads and handhelds. The popular buttermilk fried chicken sandwich gets a nice bite from a spicy aioli.

Grrrr…don’t mean to bitch (oh – wait, I am one!): Must they call the jumbo wings “The Pound?”

Stop growling, Sheeps. But that reminds me, they have a license to brew – so someday you might bring growlers – but with several friendly nearby breweries, P&P offers a dozen beers on tap…

Wasserhund, yeah!

…as well as in cans and bottles, and wine…

Perhaps a bone-dry Chardonnay!?! Heh, heh, heh.

…and cocktails with themed names like Mutt Margarita. Hard seltzers and non-alcoholic options, too.

Zzz. Zzz. This puppy-sized chaise is sweet. Head jerk. Eyes wide. Red alert! Mighty finelooking Rottweilers headed to off-leash zone.

Dogs must be at least six-months-old, vac-

cinated and spayed/neutered for that area. They romp untethered under the watchful eyes of “Pawficials” wearing black and white referee uniforms who maintain a fun atmosphere for good, healthy socialization.

“I like that it’s regulated,” says Maddie Smith. “I’ve had terrible experiences at dog parks. Here you can come in and you know they’re going to be fine.” She was sniffing out the joint for her seven-year-old Lab mix Teigen.

Bring ‘em Maddie! And thanks for the tummy rubs. Scratch. Scratch. Snuffle. Snuffle. Ahhhhhh …splash pad! Spraying fire hydrant! Giant tennis ball! Better than chewing slippers (and that’s pretty darn good!).

Sheepish and I both dig how the entire staff is totally into dogs. Much of the place is inspired by Lawson’s two American Bullys, Kanan and Juju. Co-owner Sims is a vet tech (the Fancy Frenchie cocktail salutes her three French Bulldogs), and bartender Josh Parker, who is a professional dog walker, will manage P&P’s soon-to-open doggy daycare. “We know proper ways to respond should there be an incident,” says Lawson.

Dog-owners/lovers Alexis Cummings and Callista Tuck have worked at other restaurants as hosts and food runners, but they prefer their posts as “Pawficials” where their sole function is to ensure safe play among the clientele. “This is one hundred percent better,” says Cummings. “These guests are easier to take care of,” adds Tuck.

Everyone’s welcome, kids, pet-less people (well, cats need not apply). Humans can partake in P&P even if they don’t have a dog. Yeah…but what’s with that?

Regulars love P&P so much, they created a community group on Facebook (not affiliated with the business’s official page) numbering more than 200. It contains things along the lines of “Max met Weazy, wants to meet up again.”

A “Foam Paw-ty” with a DJ and “Booty and Booze” (exercise followed by an icy cold beer) are just a couple of special events that recently took place. Sign up now for the “Barkcuterie Workshop” on August 6 to make a dog-friendly charcuterie board. Listen up pack! Hound your owners! Get here! Four paws up!

2413 London Bridge Road, Virginia Beach. 757-703-7877. Open daily. “ Yappy Hour” weekdays from 3 p.m. to 6 p.m. pupsandpints.dog

Wasserhund craft beers are to bark for at Pups & Pints in Virginia Beach.