Mountain bike ride of Greater Ocean View with Bike Norfolk, starting from the Northside Park Mountain Bike Trailhead and rolling for around 15 miles
Arts and Entertainment
Mountain bike ride of Greater Ocean View with Bike Norfolk, starting from the Northside Park Mountain Bike Trailhead and rolling for around 15 miles
Save the date for the Button Butterfly Garden Craft event on Tue, May 20, 2025 at 3:30 PM at the D’Art Center!
Get ready to unleash your creativity and make a beautiful butterfly garden using colorful buttons. This hands-on workshop is perfect for all ages and skill levels. Let’s have a fun and crafty time together creating unique pieces of art inspired by nature.
This workshop is free and open to the public, but your RSVP gives us an idea on what to expect! We accept walk-ins and RSVPs, but all spaces are first come, first serve – an RSVP does not guarantee your space. We do suggest that you arrive a few minutes early for parking.
With help from the Program for Improving Capacity and Capability (PICC) Grant, the d’Art Center is able to bring back free programming for our community, but we need your help to gather information required by the grant to meet our goal in Connecting the Community with the Visual Arts. Before the activity begins, attendees will be asked to fill out a Participation Form that includes questions such as age range, zip code, etc.
Milo Aukerman: Vocals, Ph.D.
Stephen Egerton: Guitar
Bill Stevenson: Drum Ogre
Karl Alvarez: Bassmaster General
The DESCENDENTS invented pop punk. Overstatement? Perhaps, but spend ten minutes scanning FM or the idiot box and you’re bound to witness a ditty or video that tips its hat to a musical genre that was refined to a high art — if not created outright — by the ‘Dents. Formed in 1978 against the fertile musical backdrop of Los Angeles’ South Bay scene (see: Black Flag, Minutemen, SST Records, etc.), the caffeine-addled crew released their first 7″ single “Ride The Wild” as a trio in 1979. Not long after, the boys recruited one Milo Aukerman (microbiology Ph.D. in waiting and poster boy for adolescent ne’er-do-well alienation) for vocal duties.
Milo’s fervent mic delivery coupled with his knack for hitting the lyrical nail on its heartrending head plunged him headfirst into the band’s fold, and together they released the “FAT” EP in 1981. 1982 saw the release of the stellar “Milo Goes To College,” a penultimate fusion of hooks and heartache which inspired the LA Times to write, “perfect for the little guy who was ever called a nerd and never got the girl… (its) earthy humor conveys what is often an inarticulate rage”. And Milo really did go to college, leaving the practice room for the hallowed halls of higher education. Drummer Bill Stevenson went on to beat the skins for Black Flag while the guys temporarily hung up the DESCENDENTS moniker, only to reunite with Aukerman for 1985’s “I Don’t Want To Grow Up” and 1986’s “Enjoy!”
The two releases comprise the perfect case study in the dualistic, yin/yang nature of the band’s output. While the former is a veritable user’s manual for post-pubescent angst, sizing up the themes of life, love, and uncertainty with infectious wit and dizzying energy, the latter is perhaps most notable for its testaments to the, umm… follies of flatulence. Their cover of the Beach Boy’s “Wendy” on “Enjoy!” is at once familiar and revelatory, the perfect amalgam of pop sensibilities and punk execution that would earn them fans the world over.
With the introduction of new members Karl Alvarez and Stephen Egerton on bass and guitar respectively, the release of 1987’s “ALL” full-length saw a band that had truly come into its own. While the tongue in cheek delivery remained intact, the music had become at once visceral and from the gut, a complex balance of straightforward delivery (“Clean Sheets”, “Coolidge”) and fringe-y, free jam inflections (“Schizophrenia”, “Uranus”). The band toured incessantly throughout the mid and late ’80s; all that time on the road paid off in spades in the form of two live albums, “Liveage!” and “Hallraker.” And then Milo went back to college. The extant members went on to form the band ALL with ex-Dag Nasty vocalist Dave Smalley, continuing their prodigious musical output while maintaining a hectic tour schedule. It was not until 1996 that we’d see another DESCENDENTS release with “Everything Sucks,” a perfect return to the pop punk form that the band had become known for.
Fast forward to 2003, and lo and behold, the DESCENDENTS are back in the saddle with two new efforts slated for the release in 2004: a four song EP entitled “‘Merican,” and a bona fide full-length LP’s worth of new material that goes by the name “Cool To Be You.” Seeing as how punk is now a household name, and the ubiquitous “girl song” milieu infests the airwaves, will the DESCENDENTS reclaim their title as Kings of the Lovelorn Anthem? Only time will tell, but this much is certain: If imitation is the sincerest form of flattery, the DESCENDENTS must go to sleep with flushed cheeks every night of the week.
Anderson .Paak and Knxwledge are NxWorries. In Fall 2025, they will go on their first ever headline US tour in support of their GRAMMY Award-winning sophomore album Why Lawd?
Why Lawd? follows NxWorries’ cult classic 2016 debut album Yes Lawd!. Fans of Yes Lawd! will find plenty to love on the new album, though Why Lawd? also finds NxWorriesstretching to new sonic terrain – from Anderson .Paak’s deftly-rapped verses on “Battlefield” to the G-funk indebted production of “86Sentra” to the interplay of .Paak’s crooning and Earl Sweatshirt and Rae Khalil’s guest turns on “WalkOnBy”. Other singles include “FromHere” featuring L.A. hip-hop royalty Snoop Dogg and Death Row-signed R&B singer October London, “Where I Go” featuring H.E.R., “86Sentra,” and “Daydreaming”.
The Billboard-charting Why Lawd? was a Best Album of 2024 in Pitchfork, BET. Huffington Post, Paste, Vulture, UPROXX, Billboard, and more. In the time since the release of Yes Lawd!, Anderson .Paak is a 9x GRAMMY awards winner and achieved global superstardom through his solo career. Knxwledge has meanwhile cemented his legacy as one of the great beatmakers of our time, a GRAMMY Award-winner with a prolific catalog of his own, in addition to being called on by the likes of Kendrick Lamar, Earl Sweatshirt and others.
Red Before Black track-listing
1. Only One Will Die
2. Red Before Black
3. Code of the Slashers
4. Shedding My Human Skin
5. Remaimed
6. Firestorm Vengeance
7. Heads Shoveled Off
8. Corpus Delicti
9. Scavenger Consuming Death
10. In the Midst of Ruin
11. Destroyed Without a Trace
12. Hideous Ichor
Cannibal Corpse line-up:
Alex Webster – bass
Paul Mazurkiewicz – drums
Pat O’Brien – guitar
George “Corpsegrinder” Fisher – vocals
Rob Barrett – guitar
Cannibal Corpse online:
http://cannibalcorpse.net
https://www.facebook.com/cannibalcorpse
https://twitter.com/CorpseOfficial
https://www.youtube.com/user/cannibalcorpse
“A new age is here. We Came As Romans are back.” – Rock Sound
It was early 2021. We Came As Romans fans hungered for news about the band’s next album, the first material since 2019’s pair of well-received singles, “From the First Note” and “Carry the Weight,” and the eclectic Michigan metalcore group’s first full-length since the 2018 death of Kyle Pavone.
“I cried today while tracking a song. If that gives you any insight as to how emotional this is for us,” lead guitarist and primary songwriter Joshua Moore wrote in a Tweet. He added: “No shame.”
No shame, indeed. Since the release of the milestone debut album, 2009’s To Plant a Seed, diehard fans depend on We Came As Romans to deliver intimate, confessional, and autobiographical anthems, each one challenging, triumphant, and passionate. Roughly a month after Moore’s missive and subsequent Tweets, bassist Andy Glass posted a lengthy and heartfelt update on Instagram.
“We came together and put every ounce of energy into making something truly beautiful for Kyle,” he wrote. He talked plainly about grief, the new album’s role in healing, and the importance for anyone in similar situations to take care of themselves, too. “Be kind and gentle to yourself.”
Darkbloom is a bright light in the darkness that honors their brother’s legacy and harnesses the strength of every WCAR album before it, ushering in an ambitious, courageous new era.
We Came As Romans’ ascent was quick and assured, catapulting the band (who met as teens) into the hearts of diehard fans immersed in the metalcore, post-hardcore, and Warped Tour subculture. Their hook-filled heavy music carried an uplifting message and connects with even greater urgency live. The increasingly diverse catalog of metallic might, melodic strength, and electronic atmosphere soars in clubs, theaters, and fests. They’ve supported tastemaker acts like Bring Me The Horizon, I Prevail, A Day To Remember, Falling In Reverse, Bullet For My Valentine, and The Used.
Moore and vocalist David Stephens proved a formidable writing team. Crowds connected with the songs on To Plant a Seed and its follow-up, 2011’s Understanding What We’ve Grown to Be. Moore, Stephens, Glass, guitarist Lou Cotton, and Pavone (who shared lead vocal duties) entered Billboard’s Independent Albums chart at No. 1 with 2013’s Tracing Back Roots. The record boasts enduring fan-favorite tracks, like “Hope,” a song streamed more than 22 million times on Spotify.
Metal Hammer described the band’s 2015 self-titled fourth album as “a massive departure from their comfort zone. Where once there was positivity, patience, and platitudes, there is now pain.” The menacing record confronted the darker aspects of relationships and life. Like its predecessor, We Came As Romans sold well over 20,000 copies during its first week in the US alone.
Alternative Press declared 2017’s Cold Like War a “milestone for WCAR,” noting the band “expanded their range of sounds, emotions, and songwriting capabilities without compromising their sincerity.” Songs like “Learning to Survive,” “Wasted Age,” and the title track are among their most streamed. Cold Like War was the first album with SharpTone and first to feature David Puckett, who replaced longtime drummer Eric Choi. Tragically, it proved to be their last with singer Kyle Pavone.
Roughly a year after Cold Like War’s release, an accidental overdose took Pavone’s life. As Kerrang! reported, “the world of metal and hardcore lost a talented singer before his time.” A devastated WCAR vowed to continue, in his memory, for each other, and for their fans. The Kyle Pavone Foundation arose to help musicians and fans struggling with addiction and mental health.
After the 2020 pandemic postponed plans for a To Plant a Seed anniversary tour, Moore wrote roughly 35 songs, together with longtime friend and producer/engineer Nick Sampson (Miss May I, Fit For A King, Polyphia). “Nick was the engineer for Joey Sturgis on our first two records, so we’ve known him since I was 18 years old. I’m 31 now,” Moore explains. “On Cold Like War, we started writing songs with Nick at home, then took those to producer Drew Fulk to make the album.”
The presence of Fulk (Bad Wolves, Lil Peep, Ice Nine Kills) was essential, as he was not only close with the band but deeply understood the electronic flourishes Pavone perfected on Cold Like War. “The keyboards on the first album sound a little bit dated. On other albums, I went for all organic sounds, with strings and piano,” says Moore. “Kyle nailed it on Cold Like War. We gave him free rein over everything that didn’t come from a guitar or bass. It was important to preserve that element as we entered this new era. We can’t have Kyle physically with us, but his essence remains in our music.”
Before they flew to California to record with Fulk, Moore whittled the initial batch of 35 songs down to the best 20. Those became less than ten, with additional tracks written in the studio which made the cut. “Drew didn’t tell me what they thought of each song. He made sure I formed my own opinion,” Stephens notes. “We all had differing opinions on every song. One song, in particular, I fought for, and it made the album. It was a cool process to go through all of the material like that.”
The band’s collective loss plays a significant role throughout the lyrics. Still, they were careful to choose songs that address different emotional needs and reflect varied aspects of the grieving process. Equally essential to the record are the leaps and bounds of growth in Stephens’ vocals. “Before, I was strictly screaming; always aggressive. I was never the guy singing the soft, emotional parts that express sadness in a song. I was always doing the high energy, angry parts,” he points out.
Experimentation, vocal lessons, and soul-searching resulted in a new “persona” for the singer. “My voice is so much different than Kyle’s voice, so it was important to find my style,” he adds. “Normally, we only have a few months to make a record. But we were able to spend so much time on Darkbloom. I was able to develop who I want to be as a singer, to carry on for both Kyle and me.”
Moore explains. “We sat down as a band and said, ‘Whether you like it or not, you’re our voice. You represent us. It’s on you to step up, or we’re not a band.’ And he really stepped up. He just crushed it. Dave, Andy, and I are all doing vocals live and, in the studio, Dave steered the ship with our little parts in the background. It was an emotional, feel-good moment for us. As a trio of vocalists now, it’s very cool that we evolved in that way. This wasn’t a conversation we had between the first and second record. ‘How did you guys evolve? Oh, we made the breakdowns heavier.’ Dave started this band and brought me into it when I was 15 years old. It was cool to have a natural evolution. We aren’t kids looking to rage and party all the time. We’re at a place to appreciate the progression.”
In an enthusiastic review, Rock Sound described the album’s title track, “Darkbloom,” as “a pitch-black piece of decadent and delirious post-hardcore that feels like wave after wave of hitting you square in the face. Ferociously dense synths clash violently with gloriously symphonic riffs and howled harmonious vocals that equate to a wall of glorious sound, expelling unbridled emotion and pushing the band into new and unchartered waters.”
“One More Day,” one of Stephens’ favorite vocal performances on the record, is plaintive, melancholic, and beautiful. As the title suggests, it’s about the wish for a little more time with Kyle.
“The Anchor” nearly didn’t make the album, but it turned out to be one of Stephens’ favorites. “I loved Josh’s lyrics, about grief pulling you down like an anchor. There’s something visually attractive to me about the lyrics – boats, the ocean – and obviously, the emotions behind it,” Stephens says. “It hit home for me. And vocally, I vibed with the song. I just love singing it.”
“Promise You” is a sequel to the Cold Like War song “Promise Me,” Pavone’s electronic-heavy, heartfelt anthem of self-acceptance. “Promise You,” with Moore singing lead, emphasizes WCAR’s commitment to his memory. “It’s the most emotional song I’ve ever written,” Moore says. “It meant so much to me that the boys were cool with that and encouraged it. I hope that every one of our fans can listen to it, and they can make a promise too, to always remember Kyle.”
Fulk suggested moving the crushing breakdown in “Daggers” to the chorus and the song just exploded from there. “I’m much more of a live guy than a studio person, and when I heard that song, I could immediately picture people screaming it back at us at our shows,” Stephens explains. “It will be a crowd mover, for sure.” The high-energy beatdown track features aggro cult rapper Zero 9:36.
The album title, a creative and expanded variation on the themes found throughout their catalog, represents the ability of love, and hope, to persevere even in the direst of circumstances. It’s an idea reminiscent of the 1921 Sterling Trio recording, “I Found a Rose in the Devil’s Garden.”
Each record marks a moment in time, a stage in the process of continuing evolution, none more so than Darkbloom. The band’s first album as five-piece balances the robust optimistic vitality of their earliest work with the stark realism of later records. It is an album, and a band, shaped by struggle, singing anthems of inspiration and survival. Like a flower fighting up through concrete, We Came As Romans continue to symbolize the transformative power of perseverance through struggle.
Johnny Marr started his career with The Smiths, beginning an amazing history as one of the most influential songwriters and guitarists in British independent music. His subsequent creative journey has seen him at the heart of The The, Electronic, Modest Mouse and The Cribs, as well as working with such names as The Pretenders, Talking Heads, The Avalanches, and the musician and composer Hans Zimmer – with whom he recorded the score and soundtrack for the most recent James Bond film, No Time To Die, including the Oscar-nominated title track created with Billie Eilish. Since launching in 2013, Marr’s solo career has given rise to four UK Top Ten studio albums – The Messenger (2013), Playland (2014), Call The Comet (2018), Fever Dreams Pts 1-4 (2022) and a career-spanning book, Marr’s Guitars (via Thames & Hudson). The full measure of this extraordinarily fertile creative period is captured on his latest offering, Spirit Power: The Best Of Johnny Marr, a major new collection curated by Johnny encompassing songs from his first ten years as a solo artist, a scattering of stand alone singles and two incendiary new cuts, Somewhere and The Answer. It’s a body of work that mirrors Marr’s unquenchable life force, breadth of musicality, and above all, his love of melody.
Digital tickets will have a TRANSFER DELAY of 72 hours prior to the event.
Demario White B/K/A Moneybagg Yo was born on September 3, 1991 in South Memphis, Tennessee. The oldest of three siblings Moneybagg wore tired of seeing his mom struggle to feed him and his sisters, so he dropped out of High School and began running the streets with hopes to support and provide for his family.
During idle time Moneybagg Yo and his bestfriend Elo began freestyle fun, ELO would tell Moneybagg Yo he truly thought Baggs had what it takes to become a rapstar.
In 2015 ELO’s vision came true when Moneybagg Yo dropped Federal, a mixtape that set Memphis and Tennessee surrounding areas ablaze. But It wasnt until his best friend ELO was fatally gunned down in 2015 that Moneybagg Yo began to take rap music seriously. During these painful times Moneybagg Yo penned and released a CD that wore heavy on the hearts of South and North Memphis. The cd was titled “ELO” (Everybody Lives On) a tribute to his best friend.
Show is 18 and over only.
Big Boogie at The NorVa
Saturday, July 19th
Doors open at 7:00 p.m. and show starts at 8:00 p.m.
All ages are welcome
This event is 18 and over only.
There is no difference in the price tiers. Choose the lowest price for the Early Bird Discount. Limited quantity’s available.
