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It's become an Eastport tradition. When day and night are just about equal in length, and springtime's a' coming, boat folks in Eastport decide that they've had just about enough of the cold weather. It's time for their toes to be free and unfettered in the old deck shoes. What to do with those tired winter socks? Throw them in a bonfire, of course, and drink a toast to the warm days to come.

It wasn't too long ago that Eastport was a working man's neighborhood, and most everyone who worked there did so on boats. The winter was even longer and slower in those days, as cold weather put a crimp on sanding, painting, and repairing. According to Ivon Paulin, who has been around these parts for a long time, the sock burning started with the now-famous (well, sort of) Bob Turner. Here's how Ivon says it started, right on First Street Beach.

During one particularly harsh winter a small group of these [boat yard] workers, led by Bob Turner at Annapolis Harbor Boatyard, decided that they would do something about these long, cold winters. They set up a paint tray with some wood and a little fuel to get it started, doffed their socks, placed them in the inferno and broke out an ice-cold case of Budweiser. Having done this, they decreed an end to winter and commenced with activities that were more in line with the newly decreed spring season. Mother Nature, having recognized when she had been outdone, acquiesced and banished the winter weather for the season.

As with all truly significant events in history, this one did not go unnoticed by the world at large. A few of the world's more prominent astronomers heard of the event and conspired to steal the glory away from our local heroes. They declared that this day, which they dubbed "The Vernal Equinox," was controlled by the movements of the planets, and the Burning of the Socks had nothing to do with it. Nonetheless, locals continue to uphold the tradition that was officially passed on to EYC [Eastport Yacht Club] by Bob Turner when he departed Eastport. Bob was so disgusted with the way the academic world had treated him that he tied a pair of socks to his antennae and said he was going to head south until someone asked him what they were.

Bob's back in Eastport and is sure to be around for the Annapolis Maritime Museum's Sock Burning on Friday, March 18 at 5:03 p.m. EST (that's Eastport Standard Time; rival calendars claim the actual equinox is on the 20th). Gather at Barge House Beach, 723 Second Street at Back Creek. Admission is free; bring your own socks.

-Elvia Thompson

Rams Head:
Brewing Success
by James Houck

"Absolutely fabulous." "Remarkable." "Slick, modern, comfortable." "Simply amazing." The superlatives overheard at the VIP opening for Rams Head Company's latest venture, Ram's Head Live! in Baltimore, were judicious and to the point: "this places ROCKS." And the music hadn't even started yet.

In December of '04, the Rams Head & Fordham Brewing Company unveiled a bold vision in impressive fashion. Yes, the food, atmosphere, and service were undeniably good. But the X-Factor of the evening was that the vision came together with less than three hours to go--right up until patrons began strolling the red carpet, quite literally. Construction made final adjustments, servers learned on the spot, and the sound check was the show. When you send out hundreds of invitations to a grand event like this one, the show does go on. On it went, and sweet success had a baby in Rams Head Live! Not bad for a company that's willing to take risks.

There's a working philosophy at Rams Head, whether it's at Baltimore's newest addition, Annapolis' own Rams Head, at Savage Mills, or at Crownsville's Rams Head Roadhouse (it even exists in Dover and Rehoboth, DE). "Everybody takes their turn plunging the toilets at the Rams Head," commented Erin Brunst, Director of Marketing. "Translation: Everyday is a new day and a new role at the Rams Head. You go where you are needed. My main focus is marketing, " Brunst continues, "but if they need help moving tables, directing traffic, or plunging toilets�we've all learned our role is to lend a hand."

Brunst has been with Rams Head since May of 2002, about the same time Rams Head opened its Rehoboth, DE location. "The company had grown in size where they felt a marketing position was justified." Brunst explains. New to the position but not to Rams Head, Brunst has known Rams Head's owners, the Muehlhauser Family, since she moved to Maryland in 1991-they were neighbors.

"Hire people that are energetic, thinkers, and smarter than yourself-and let them run with it," recites Bill Muehlhauser, patriarch of Rams Head, when asked to describe their formula for success. Risky business? Not so much. "Almost all of our office and management staff started on the restaurant floor," he adds. Even son Kyle Muehlhauser, who now heads the Savage, Rehoboth, and Crownsville locations, had his moments in the kitchen. "When I was 15 years old, I worked as a dishwasher at Red, Hot & Blue, Kyle says. "After that job, I started working at Rams Head in Annapolis as a cook, also serving as a doorman and waiter over the years."

The ideology of "group effort" within the Rams Head Company is what has allowed for growth to follow success, and vice-versa. Many companies preach this philosophy; many don't have it. Rams Head has it. "The people we have working for us, they are the future and success of the business," notes Bill. Just look at the taps and you'll see Bill's vision at work.

Rams Head brews much of its beer either in house or at its 15,000 square foot Dover brewing facility. We know this, we love this, we call it Fordham Brewing. But�Bill doesn't brew the beer. Jim brews the beer. Bill hired Jim Sobczak in October 2000 to head the local brew haha, a move that plays to Bill's "let 'em run with it" employee structure. Sobczak is pretty darn smart when it comes to the art of brewing frosty adult beverages. "I've been professionally brewing for over 10 years," he says. "Originally I apprenticed for a German Brewmaster in Baltimore. Then I became Head Brewer and furthered my education by studying brewing in Munich, Germany at the Doemens Academy." It's passion at play for Sobczak, which in turn has allowed for the Rams Head "seasonal brew" repertoire to grow year by year. "Since I arrived, I have added at least one new brew to the "seasonal" lineup each year." New to this year's lineup, Fordham Slam Dunkel (a Munich-style dark lager) was released in February.

The popularity of Sobczak's seasonals and Fordham's staples (Helles Lager, Copperhead Ale, among others) has created market demand. Remember where you were when you saw Annapolis' finest, Fordham beer, on the shelves at local liquor marts for the first time? The company has come a long way since production runs first took them to the shelves. The circle of distribution for Fordham now includes Maryland, D.C., Virginia, Delaware, Pennsylvania, and New York. Sobczak gives perspective to the entire Rams Head entity when he sums up brewing distribution operations. "We are constantly working to grow our market. As far as nationwide is concerned, we can only dream."

"We look for a 'major' project for each upcoming year," states Bill. Incremental change, incremental growth-both seemingly key aspects of the Rams Head Company. We've all heard "slow and steady wins the race," but in the case of Rams Head, it's "steady creativity" that wins. "Next year we are focused on Virginia," adds Bill. As in Brown's Island, Virginia, situated within the James River in Richmond. Currently, Brown's Island is a hot spot for the college crowd and 20-somethings who savor a party atmosphere and live music�and Rams Head has seen the light.

Time will tell if differing markets equal the success already evident at Rams Head's five patron locations. If the past is any indicator, the company will find it's place no matter where it stands-it's a flexible operation, after all. "We do manipulate the [Rams Head] identity. I think that our different locations are good examples of manipulating identity to target a certain audience (i.e. Rams Head Roadhouse)," explains Bill. "We work with each individual restaurant to develop programs that fit their specific needs, from tickets to menus to gift certificates to napkins-anything that conveys the Rams Head brand," adds Brunst.

Rams Head & Fordham Brewing Company have successfully recorded their brand and conveyed a jovial sensibility to their current patrons. The music bookings at both On Stage in Annapolis and Live! in Baltimore appeal to varying audiences-one night it's soaring 'Nawlins funk of the the Funky Meters, the next, laid back grooves from J.J. Cale. But the food and beverages appeal to all. Head Brewer Sobczak and Chef Greg "Cowboy" Richardson (13 years with Rams Head) consistently lend fresh appeal to the brews and menus.

What's next for Rams Head? Though Maryland may not see another location opening, ideas are on the drawing board for alternative, intriguing and creative possibilities. " Live recordings [of concerts at Rams Head] are on the radar screen," suggest Bill. Maybe one day, in the distant future, you'll be able to look back and remember where you were when you first saw Rams Head's trademark Crab Dip in the grocery aisle.

Creative flexibility, energetic passion, and family atmosphere at work-it's Rams Head calling card when it come to business operations, and it's their key to successful growth. "I love to work. I take my businesses very personally," says Bill. "I love to see people having a good time."

The Rams Head & Fordham Timeline: A Growing Success

1703: Benjamin Fordham crosses the Atlantic and begins a beer brewing operation in soon-to-be-named Annapolis. The 33 West St. property is owned by St. Anne's Parish.
1989: Rams Head Tavern opens, serving over 100 brands of bottled beer. The establishment seats 30 customers (patio seats 10) and employs 5.
1992: More bar space needed. West Street Dry Cleaners is purchased to accommodate.
1993: More seating capacity needed. The adjoining Barber Shop is purchased.
1995: The Fordham Brewing Company is reestablished nearly 300 years later in the old Savings and Loan Bank on West St.
1997: Rams Head On Stage, a national entertainment venue, opens in the old Blue Cross/Blue Shield building. On October 25th, at Table 6 in the downstairs pub, the Maritime Republic of Eastport is plotted.
1999: Rams Head Tavern Savage, Maryland opens, the largest of the Rams Head Taverns.
2002: Rams Head Tavern Rehoboth Beach, DE opens, a half-block from the beach.
2003: Fordham Brewing Company relocates to the brand new 15,000 square foot facility in Dover, DE.
2004: In April, Rams Head Roadhouse opens in Crownsville. In December, Rams Head Live!, a 21,000 square foot national entertainment venue, opens in Baltimore.
2005: Brown's Island, Richmond, VA location projected to open.

ASO's Sweet Inspiration

"See the Music," a new project by Annapolis Symphony Orchestra, sounds like a Zen koan: a contradiction that's intriguing to ponder. This month, as it launches a new collaboration that unites visual artists and classical music, ASO brings the koan into focus.

Last fall, ASO invited 40 local artists to listen in during rehearsals, performances and recordings, then encouraged them to create visual responses to what they'd seen and heard. The results go on display March 1 with an exhibit at MacDowell Hall at St. John's College. There, participating artists will unveil their works, including painting, photography, sculpture and collage. Following a private reception for contributors and subscribers (who can vote on an Audience Choice award), the public can view the art from 7-9 p.m.

The show continues next month: "See the Music" will be displayed at Historic London Town and Gardens on April 2 and 3 and at the ASO's Spring Pops program on April 16. Finally, ASO will showcase and offer the art in a special silent auction at the third annual Black & White Ball, scheduled for April 29 at Loews Annapolis Hotel.

Lee Streby, executive director of the ASO, believes the "See the Music" fundraiser will be a three-way winner, benefitting the orchestra, the visual artists and the community. "The theme should produce some very interesting pieces," he says. "and it's an opportunity to show in a very unique way how music can inspire the imagination."

The Live Wire:
Concert Previews
by j.s. houck

3/2 Juanes at DAR Constitution Hall, D.C.(410.547.SEAT) All the rage in the Latin music scene, this Columbian singer/songwriter/guitarist mixes rock, salsa, and funk, with an occasional love song for the ladies.

3/6 Motley Crue at the MCI Center, D.C.(410.547.SEAT) The Crue is back! This sinful Sunday show will kick you so hard in the ***, you'll be rockin' through the rest of the week.

3/9 Jimmy Cliff at the State Theatre, Falls Church (410.547.SEAT) One of the most recognizable reggae icons, Cliff still dances up a furious storm while performing, and maintains his passionate singing and guitar playing.

3/12 Dickey Betts & Great Southern at the Recher Theatre, Towson(410.547.SEAT) Dickey at the Recher-this should a fun one folks. Blue-collar jamming and sizzlin' guitar licks by Betts on all his hits: 'Liz Reed, Jessica, Ramblin' Man, Blue Sky, Southbound and more.

3/14 Buddy Guy at the Birchmere, Alexandria(410.547.SEAT) A living legend, Guy lays down serious devotion to urban Chicago blues-proof is in his powerful lead lines on guitar. You'll have no problem hearing them at the "shush please" Birchmere.

3/17 O'Malley's March at the Recher Theatre St. Patty's with O'Malley's! Boo yeah, this is gonna be a rager no doubt. Baltimore's Irish rocking band playing their hometurf on the liveliest of high-octane days. Tahhxxii!!!

3/18 Kodo Drummers at DAR Constitution Hall Feel the heartbeat of the taiko Japanese drum, as 22+ drummers move the air within the auditorium in synchronized breathtaking fashion.

3/19 Orchestra Baobab at the Birchmere Recently regrouped (2001), Senegal's once-wildly popular ('70s) Baobab has rededicated themselves to their inspiring sound that melds Cuban rhythms, griot-style chant vocals, and fluid guitar solos.

3/24 Steve Vai at Rams Head Live!, Baltimore(410.727.5151) One of the most influential of the late '80s/early '90s wash of soaring conceptual guitar soloists, Vai screams through his instrument, bringing to life states of radical emotion.

3/28-39 Pat Metheny Group at Lisner Auditorium, D.C.(410.547.SEAT) At age 8, he was playing trumpet. Age 12 saw the switch to guitar. By 18, he was the youngest professor ever at the U. of Miami. Metheny is one of the best jazz guitarists to emerge in the past 35 years-and may be the best for 35 more.

3/30 Leo Kottke at the Avalon Theatre, Easton(410.547.SEAT) This finger-style guitarist is known for weaving imaginative chord progressions, steamrolling picking, and witty lyrics into a "psycho-acoustic riddle" (self described).

Around 'n' Around:
Live Reviews
by j.s. houck

Derek Trucks Band
at Rams Head OnStage, Annapolis
01/10/05

No longer a prodigy at 25 years of age, Derek Trucks has covered a lot of ground in the past ten years, touring extensively with his band and the Allman Brothers (since 1999). On his recent stop to Annapolis, the phenomenally educated guitarist known for his capacity to play [seemingly] anything in open-E tuning (world, jazz, blues, rock), fluctuated between slide-guitar and finger picking fret-work with amazing grace.

Sliding deftly into cosmic chords and notes that evoked Indian charm, Trucks effectively coaxed sitar-ic sounds from his Gibson SG, eventually leading his band mates into the delicate warmth of the "Rastaman Chant," with its 1-2-3, 1-2-3 thumping beat and soaring tribal vocals (quasi-vocalized through Truck's slide playing). And then�the five-some deconstructed the melody, gliding into a harrowing climax, accented by drummer Yonrico Scott's precision slashing of the cymbals and Trucks' ringing high notes at the 22nd fret, before finding the root note and slipping back into the main theme of the chant. Within 10 minutes, Trucks and company had successfully fused together Eastern and Western music.

By set two, when guest sax-man, Ron Holloway, joined the party, the band had chugged through Cuban influences, R&B movers, Coltrane's "Greensleeves," Senegalese inspiration, and Delta-born bluesy grit. Holloway could only up the ante, repeatedly trading lead lines with Trucks with bellowing enthusiasm on groovy-jazzy numbers such as "Soul Stew," "Cheescake," and "Soul Serenade." For the encore, Trucks and Holloway led a boogie-fied take of Rahsaan Roland Kirk's "Volunteered Slavery," complemented by vocalist Mike Mattison's feverish exclamations. By 11 p.m., the Derek Trucks Band found the collective roar of the coda and sent us home educated.

Gear for Your Ears:
CD Reviews
by j.s. houck

Gangstabilly and Pizza Deliverance
Drive-By Truckers
New West Records
On Shelves Now

Two reissues of the Drive-By Truckers' first two recorded offerings, 1998's Gangstabilly and '99s Pizza Deliverance, show a vocally and instrumentally mature band with something to prove-and prove themselves they do. On the former, fresh country twang, compliments of everything string (guitars, pedal steel, banjo, upright bass)), rich 'n' gruff vocal harmonies, and punchy drumming play to the laid-back cow-poke in all of us. Recorded "live in studio" in the band's Athens, Georgia hometown, Gangstabilly reads as sort of a '70s mellow-melt of white-knuckled, blue-collar country folk with all sorts of tank-topical themes: wife beating, broke-down cars in nowhere's land, drinkin' cases of beer, being late for church, 18-wheelers-it's a southern po' boy's anthem and deliciously fun. But for all the debauchery found on this album, which by-the-way is disguised aurally by the overall swinging sound and stand-out pedal steel, there is an underlying theme, neatly discovered in the last line of the last song "Sandwiches for the Road"-"nothing can hurt you but yourself." Pizza Deliverance sees the band taking steps towards an edgier rock sound, while maintaining a western foundation-the album delivers a sort of an "urban cowboy" mythos. The themes sway with jangling guitar work, from jail-birding to guns to familial discord-it's the Truckers reaffirming their southern influences, but set to a more profound rock sound. While rooted in the "wife left me/dog died/lost my job" country aesthetic, the band (now paired down to four players, with guest appearances throughout) swaggers occasionally towards stripped down distorted rock 'n' roll-track two, "Nine Bullets" makes for a good example.

Route 23
Chatham County Line
Yep Roc Records
On Shelves Now

Raleigh natives Chatham County Line put their best foot forward on Route 23, their sophomore album, at taking a step back-that is, the foursome delivers an all-original batch of homey bluegrass numbers that evoke the traditional Appalachian sound-an overall rural sound petrified musically, that's now five years into its revival. "New traditional" is the prescribed genre CCL handsomely interprets-it takes experience and wit to craft songs anew in a historically seasoned genre such as bluegrass. And yet, track after track finds the band effectively doing just that. The lyrics testify to the personal understanding of what one could and should sing about in the bluegrass context, be it a freight train, a pretty young lass, or the promised land-and the accompaniment couldn't match any sweeter. "Louisiana Freight Train" coaxes delicate vocal harmonization between the band, wrapped up in a soft waltz. "Sun Up" takes the brisk road, a display of quick pickin,' though not searing. The album is a serious yo-yo of slow numbers and fast, an enjoyable listen, a solid attempt at growing green in a well-worn field.

Heroes, Villian's, and Mermaids:
The Fantastical World of Ronald Markman

Denizens of the wildly imaginative world of Mukfa are about to invade. The queen of the kingdom is a three-breasted woman who's been raised by mermaids; the villain is an evil art dealer who heads the dreaded Bang Bang Gang, valiantly battled by the heroic Capt Dan Thow and Fireman Waldo Wax. "I'm a cartoonist who's a serious painter or a serious painter who's a cartoonist," says Mukfa creator Ronald Markman, whose St. John's Mitchell Gallery show, "Heroes, Villains, and Mermaids: The Fantastical World of Ronald Markman," on display March 5 through April 22, is one of the gallery's rare exhibits of a living artist.

Markman invented the imaginary world of Mukfa while on a Fulbright scholarship in Italy in the early 1960s. He has been creating stories and artifacts for the country ever since. His multi-media works incorporate acrylic jewelry, plastic flowers, Styrofoam balls, and wooden disks to create everything from magazine racks to 10-foot columns guarding the entrance to the kingdom. All his creations are liberally adorned with text, in the way of full-color, three-dimensional cartoons.

Eluding categorization, Markman has won the respect of the art world. His artwork appears in the collections of the Hirshhorn Museum and the Art Institute of Chicago, and his commissioned pieces include a Christmas card for the Museum of Modern Art in New York.

Markman wanted to be a cartoonist as a child, before discovering high art when in college at Yale, where he studied with Abstract Expressionist Josef Albers. Markman went on to teach at the Indiana University Art Institute while continuing to be a productive artist; he was represented by the renowned Terry Dintenfass Gallery in New York. By a lucky twist of fate-Markman moved to town a few years ago in order to be closer to children and grandchildren-Annapolis has acquired an artist of national stature, who will be on hand to answer questions at a gallery talk on March 9.

-Beth Schulman

On Stage in March

Assassins, recent Tony Award-winner, is a musical loosely based on the stories of nine American figures who, throughout history, have assassinated or attempted to assassinate the President of the United States. At the Colonial Players, 108 East St., Annapolis. March 4 through April 9. $10-15. 410-268-7373.

Betrayal, by Harold Pinter. The affair was yesterday, but the unraveling of the lives of Emma, Robert and Jerry continues forward. At the Bay Theatre Company, West Garrett Building, 275 West St., Annapolis. $15-$20. March 4-25. 410-268-1333.

Big River: The Adventures of Huckleberry Finn is a retelling of the Mark Twain classic that incorporates signing for the Deaf and soaring vocals, utilizing a non-speaking actor as Huck Finn and a speaking actor as Jim, affording a re-examination of the pair's friendship. At Ford's Theatre, Washington, D.C. March 18 through May 1. $25-48. 202-397-7328.

Children's Theatre of Annapolis: The Wizard of Oz at the Pascal Center for the Performing Arts, AACC Campus, Arnold. $8-10. Call for times. Through March 21. 410-757-2281.

Everett Beekin, by Richard Greenberg, portrays the American journey of a Jewish family from the mid-20th century through the imagined 21st, as they move from New York's East Side to the palms of the Pacific coast. At the Fell's Point Corner Theatre, Baltimore. March 18 through April 17. $12-14. 410-276-7837.

Godspell is a musical based on the Gospel according to St. Matthew, which is not built on a traditional plot and utilizes clowning, pantomime, charades, acrobatics, and vaudeville to tell the story of Christ. At the AACC Humanities Recital Hall, Arnold. 8 p.m., Sundays 3 p.m. $10-12. Through March 20. 410-975-0200.

Mister Roberts features clever dialogue and moments of rousing inspiration, this enduring American comedy of uncommon heroism will be directed by Robert Longbottom, a 2003 Tony Award nominee. At The Kennedy Center, Washington, D.C. March 12 through April 3. $25-78. 800-444-1324.

Pacific Overtures spans 120 years of Japan's history, beginning in 1853 with America's first contact through the country's current international political position, as told by Kayama and Manjiro-two friends turned bitter enemies, as they struggle with traditional and Western influences. At the Signature Theatre, Arlington. March 15 through May 1. Call for tickets. 703-820-9771.

Permanent Collection. The art foundation of eccentric millionaire Albert Morris long flourished in quiet obscurity, a haven for his unchanging vision of cultural crosspollination. But when the museum gets a new director, change is the one thing that's certain. At Center Stage, Baltimore. March 11 through April 10. $25-55. 410-332-0033.

The Children's Hour. A malicious young woman at a girls' school invents gossip about her teachers' relationship. The scandal rips apart friends, lovers, and lives. At Rep Stage, Columbia. March 4-13. $14-23. 410-772-4467.

Two Gentlemen of Verona, adapted from Shakespeare, is a freewheeling musical celebration of youthful love and modern city living. At Center Stage, Baltimore. March 1-27. $25-55. 410-332-0033.

The Goat or Who is Sylvia? Martin is a successful architect who has never loved anyone is his life other than his wife, Stevie. With their teenage son, they are the ideal family-that is, until Martin confides to a friend that he's fallen hopelessly in love with the mysterious Sylvia. At the Arena Stage, Washington, D.C. March 4 through April 17. $40-59. 202-488-3300.

The Taming of the Shrew. Battle of the sexes-Shakespeare style. It's hard not to take sides as it is to resist laughing at some of the Bard's most outrageous characters. At Kay Theatre, Clarice Smith Performing Arts Center, College Park. March 3-12. $7-20. 301-405-ARTS.

The Tempest, by William Shakespeare. Banished to an abandoned island by his powerful brother, the Duke of Milan, Prospero seizes his revenge when a storm shipwrecks the Duke and his nobles on the island. At the Shakespeare Theatre, Washington, D.C. March 22 through May 22. $23-68. 877-4TST-TIX.

Room Service, a comedy about a nimble-witted producer, living on credit with several actors in a Broadway hotel, is desperately in need of a good script. He finds one, and also luckily finds an angel with $15,000. The play shows how, during a hectic few days, the producer plays hide and seek with the angel who wants to withdrawal his financial support, manages to outwit creditors, and at the very last moment puts over his play in spite of the most ludicrous and unexpected obstacles. At the Bowie Playhouse, Bowie. Fridays and Saturdays 8 p.m., Sundays 3 p.m. $13-16. Through March 19. 410-757-5700.

Shear Madness, now in its 17th year at the Kennedy Center, is Washington's hilarious whodunit that lets the audience solve the crime. At the Kennedy Center Theater Lab, Washington, D.C. March 1-31. $34-45. 800-444-1324.

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