THE OFFICIAL MAGAZINE OF THE I.W.S.A. & THE ANNAPOLIS ARTS DISTRICT
CONTENTS 6 | Fall 2018
12 Mixed Media Blues
By Julia Gibb
Available 20 References Upon Request
• B O B WA U G H
By Brenda Wintrode
SNAP Camera . . . 30 Lights, Boersma • G R E G G PAT R I C K B O E R S M A
By Desiree Smith-Daughety
38 No Boundaries •SAM DROEGE
By Leah Weiss
THE OFFICIAL MAGAZINE OF THE I.W.S.A. & THE ANNAPOLIS ARTS DISTRICT
46 And I Thought . . . •JADE & WILNONA
By William F. Rowel
B.B. King (2012) by H.C. Porter.
Boule-et-Proof 52 The Flavors of Natural Levain
Mixed media original, 38"x 32".
•BAKERS & CO.
By Leigh Glenn
The Mysterious Marcia Talley
72 Celebrating a Life
• M A R C I A TA L L E Y
•FREDERICK DOUGLAS BICENTENNIAL
By Leigh Glenn
64 Making Faces
By Janice Hayes
78 Of the Cloth
• M A RY L A N D S O C I E T Y O F P O R T R A I T PA I N T E R S
• C R A I G C O AT E S
By David O’Higgins
By Theresa C. Sanchez
The I.W.S.A.(Inner West Street Association) & the Annapolis Arts District Calendar
Publisher’s Notebook Editor’s Inkwell
n recent months, we have experienced much loss and been met with the heaviness of grief on a level that demands taking notice. Grief is a part of life. And if we deny experiencing it, then we deny everything connected to it, including the love from which it is born. From the mud of this particular grief—collective, singular, and vast—new growth is emerging. There is beauty in the sludge, thick as it feels, and this beauty feeds our yearning to keep what no longer belongs to us. But the vines that twine up from the mud remind us that our lives are braided together, and the connectivity strengthens us and extracts our potential to feel and see one another as we truly are. As we were finishing the production of this issue, we learned of the passing of the talented photographer Dick Bond. In our fall 2015 issue, in the article titled Through the Eyes of the Beholder, Dick discussed with writer Leigh Glenn the power of photography. Here, we share an excerpt from that article—a memento of his spirit: "Bond once believed that seeing was about getting closer and closer to a subject. In that pursuit, he amassed longer and longer lenses. But this turned out to be another mistake. ‘ [At ﬁrst,] I saw photography as a way to revere that which was hidden from our normal senses,’ Bond says, but then he realized differently. ‘ The things we fail to see are not hidden deeply—they’re right on the surface, and we still ignore them.’” Thank you for opening our eyes, Dick.
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Nancy Hammond Editions
Tall Day Lilys on Green
Tall Lacecap Hydrangeas
Regatta A New Release by Nancy Hammond
Nancy Hammond Editions features original art, prints and custom designed gifts by Nancy Hammond
192 West Street, Annapolis MD 21401 Open Daily 410-295-6612 NancyHammondEditions.com
Publisher & Creative Director Jimi Davies email@example.com Editorial Director Andrea Stuart firstname.lastname@example.org Copy Editor Leah Weiss Associate Editors Michele Callaghan MacDuff Perkins Contributing Editors Julia Gibb Leigh Glenn Alison Harbaugh Janice Hayes David Oâ&#x20AC;&#x2122;Higgins Matt McConville William Rowel Theresa C. Sanchez Desiree Smith-Daughety Leah Weiss Brenda Wintrode
Art Director Cory Deere email@example.com Contributing Photographers John Bildal Gregg Patrick Boersma Karen Davies Sam Droege Alison Harbaugh Jeanette Lynn Kreuzburg Caitlyn Mae Advertising Jimi Davies firstname.lastname@example.org Melissa Lauren email@example.com Chris Costello firstname.lastname@example.org
Editorial Intern Emma Harrigan Campbell facebook.com/UpstartAnnapolis twitter.com/upstartnaptown instagram.com/UpstartAnnapolis
SUBMISSIONS: For article submissions, email proposal to email@example.com. Up.St.Art Annapolis Magazine is published quarterly. Subscription rate: $40, payable in advance. Single copies $10. Back issues, if available, $15 (includes shipping and handling). For subscriptions and all other inquires, send an email to firstname.lastname@example.org or call 410-212-4242. Entire contents ÂŠ 2018 by Up.St.Art Annapolis MagazineTM unless otherwise noted on specific articles. All rights reserved. Reproduction in whole or part is strictly prohibited without Publisher permission.
10 | Fall 2018
Theresa C. Sanchez
Gregg Patrick Boersma
WRITERS PHOTOGRAPHERS Sam Droege
Jeanette Lynn Kreuzburg
upstart-annapolis.com | 11
12 | Fall 2018
Blues by JULIA GIBB photography by ALISON HARBAUGH
he face of Mississippi blues legend Terry Evans, rendered in high-contrast black and white, peers pensively out of the interior darkness of a red and turquoise train car, where he sits, holding a guitar in his lap. Framed in triangles by telephone poles and electrical wires, the sky blazes in painterly blue, green, and purple abstractions. The road and the gravel beside the tracks sizzle in gold and purple. This piece is part of H.C. Porter’s latest body of work and multimedia exhibit, Blues @ Home: Mississippi’s Living Blues Legends. With 31 mixed-media portraits, Porter has captured a snapshot of contemporary Mississippi blues culture,
encompassing subjects young and old, black and white, and from all walks of life. Nine of the artists have since passed but were alive and influential while Porter was creating her works. She traveled around Mississippi with Lauchlin Fields, who helped collect the oral histories that would become part of Porter’s interactive exhibit and are included in its accompanying book. “If you say, ‘I’m from Mississippi,’ it either starts a conversation or ends a conversation,” Porter says, laughing. Born and raised in Jackson, the artist is familiar with the stereotypes and preconceived notions that Mississippians
H.C. Porter in her signature gallery Vicksburg, Mississippi. Photo by Tom Beck.
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face. For decades, her work has represented the diversity of Mississippi culture and its residents, including the Midtown neighborhood of Jackson, Hurricane Katrina survivors along the Mississippi coastline, and living Mississippian blues legends. Her works of social realism depict the diversity and universality of the human experience. Porter currently works out of her loft
studio in the Annapolis home that she shares with her partner, Mollie MacKenzie, and MacKenzieâ&#x20AC;&#x2122;s daughter, Samantha. As a young artist, Porter inherited her motherâ&#x20AC;&#x2122;s painting talent and then her Olympus camera. She quickly fell in love with the darkroom and has had one of her own since she was 16. After majoring in painting and photography in college and then
honing her printing skills, working as art director and master printer for sports artist Rick Rush in Tuscaloosa, Alabama, Porter turned her attention toward combining her technical expertise into what has become her unique style of storytelling. Porterâ&#x20AC;&#x2122;s formative relationship with the Mississippi blues began during her college years. She would attend the Subway Lounge, an
Sharde Thomas (2012) by H.C. Porter. Mixed media original, 38" x 32".
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Terry Bean (2012) by H.C. Porter. Mixed media original, 38" x 32".
after-hours blues club, in Jackson. Located under the Summers Hotel, it was an established stopping place for black travelers during the segregation era. Her parents worried, as parents will, not because they felt she was mingling with an unsavory crowd but because the building was in danger of collapsing. Drinks were sold out of a house next door to the club. “You would go over and knock,
and they’d raise the sash window, and you’d ask for a bucket.” For about five dollars, clubgoers would get six bottles of beer packed into a bucket of ice to take next door. After earning her bachelor of fine arts at the University of Alabama, Porter returned to Jackson. She began making bluesrelated art, traveling to blues festivals, and selling six-color
serigraphs of what she observed there. Establishing her own studio in 1987, in the Midtown neighborhood of Jackson, she started a grantfunded neighborhood program, Avenue for Art, opening her space to local children so that they could learn about art and experience new ways to express themselves. Inevitably, she turned her camera toward her students, then her
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Waiting on the Parade (2012) by H.C. Porter. Mixed media original, 38" x 32".
Mississippi's Living Blues Legends Exhibition at Maryland Hall.
16 | Fall 2018
students’ families and neighbors. “I became this . . . accessible portrait artist for the neighborhood, and the images started seeping into my work,” says Porter, " . . . these powerful, questioning, piercing images of these adaptable, spiritual kids.” Describing her artistic process, Porter explains that “back then, I was doing it the same way Andy Warhol did it, using copy cameras and shooting onto line film.” Starting with a black-andwhite photograph, she would do multiple exposures of each image to capture different levels of detail in her compositions. “Then,” she says, “I would hand cut the film and literally Scotch™ tape it all together to get the one big piece of film I wanted.” Her pieces still start with photographs, but now she shoots with a digital camera and prepares her images using computer software. After printing the black-and-white images onto paper, Porter works color into her pieces using acrylic paint and colored pencils. Porter made the transition to digital photography when Hurricane Katrina devastated the Mississippi coastline in August of 2005. She took her camera on the road, documenting the persistence and the resilience of Mississippians who had lived along the coast for generations. Working with Karole Sessums to collect oral histories, their project mantra was, “There is healing in the telling and the being heard.” Their efforts resulted in a collection of 81 “environmental portraits”—subjects surrounded by wreckage and rebuilding in the year following the natural disaster. Backyards & Beyond: Mississippians and Their Stories has
H.C. Porter photographing Jimmy "Duck" Holmes, Bentonia, Mississippi.
Porter with her book, Blues @ Home: Mississippi's Living Blues Legends.
the book. Color reproductions of the works are juxtaposed with their black-and-white photographs, serving as both source material and artwork. Porter does her best to bring as many of the musicians featured in the exhibit to her gallery show openings. At the opening for her most recent exhibit, which ran from January to March 2018 at Maryland Hall for the Creative Arts, 85-yearold Grammy winner Bobby Rush, Vasti Jackson, and Eden Brent played blues to a sold-out auditorium crowd. Porter stays connected to her Mississippi roots through her H.C. Porter Gallery, housed in a historic building in Vicksburg. But now she is wondering
what Annapolis stories could be narrated through her work. “I’m looking for a project,” she says, “like—‘hey God, what am I supposed to be doing?’ because I don’t know, and it’s driving me crazy.” She hopes to find opportunities to work with local children and other Annapolitans. “When the Maryland Hall show was up, we had several different schools come in. They brought kids of all ages—art students, band students—and that was really fun for me,” she recalls. She interpreted her work and process for them and heard their reactions—how they felt about the individual musicians and their oral histories. “To help [kids in Annapolis] create would be exciting.” █
traveled to galleries, art centers, and museums around the nation. Eight original works, along with audio, video, and images of other portraits from the series, are part of the permanent collection at Waveland’s Ground Zero Hurricane Museum. Blues @ Home: Mississippi’s Living Blues Legends is the result of a dedicated and sometimes difficult journey that began in 2011. Some of the living legends lived under the radar, and she had to communicate indirectly with them through family members or find places based on directions that often had her searching for visual landmarks rather than street names or house numbers. The oral histories collected by Fields became part of the traveling exhibit and are available through handheld audio wands; the stories are also excerpted in
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RISE TO NEW HEIGHTS with the Visual Arts department at Anne Arundel Community College
Courses range from the traditional fine arts to digital design and time-based media. Curriculum emphasizes the technical and conceptual aspects of visual inspiration. Newest course additions include Alternative Photographic Processes and Introduction to Historic Preservation.
AACC teaches courses in: • Art History. • Ceramics. • Graphic Design. • Painting and Drawing. • Photography. • Printmaking. • Sculpture. • Video Game Design. • Video and Media Production. • Web Design.
If you love art and want to see what AACC can offer you, visit www.aacc.edu and select Liberal Arts.
Photo courtesy of Tyler Mitchell
20 | Fall 2018
Available Upon Request by BRENDA WINTRODE photography by ALISON HARBAUGH
o you know who Robyn Hitchcock is?” asks WRNR Program Director Bob Waugh. I don’t. I observe a flicker of disbelief, but he quickly forgives. “Google him. He’s a legendary musician in the U.K.,” he explains. Waugh realizes that not everyone can know what a 40-year veteran musicologist such as he knows. Behind him, on the wall of his modest Annapolis radio station office, hangs one of Alabama Shakes’ gold albums and a publicity poster from the Scottish act Travis. I’m sitting in a low, red leather guest chair that puts me level with a mini-wall of CDs bordering the front edge of Waugh’s desk, in the space where a nameplate might sit if it were important to him. Waugh’s disarming presence and calm demeanor mirror the mild,
composed voice that introduces a mix of familiar alternative and edgy new songs to Annapolis each weekday afternoon on 103.1 FM. He maintains an attentive and engaging gaze, and with both elbows on the desk, sifts through the jewel cases, then handles one that has an artful, eye-popping cover. The desk pile, Waugh tells me, represents one week’s worth of listening sessions; the rows of three-foot-tall stacks lining the floor are just from this year. I wonder what that artist would think or say if she knew the man who aided the careers of Coldplay, The Clash, Radiohead, Beastie Boys, Jane’s Addiction, The Ramones, and Hozier had her CD in his hand. In 1979, Waugh had a radio show called Off the Boat on the divergent, new wave WLIR on Long Island. The now-disbanded station’s history is enshrined in the Showtime
Bob Waugh of WRNR radio station.
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22 | Fall 2018
documentary New Wave: Dare To Be Different. The Friday afternoon routine at WLIR involved Waugh racing to Kennedy Airport to retrieve the 12inch singles imported from Europe. He would listen all weekend, judiciously deciding what to play during his Sunday slot. “I remember the first time going there and getting this band, Culture Club, and the song ‘Do You Really Want to Hurt Me,’ or Thomas Dolby’s, ‘She Blinded Me With Science,’ . . . Adam and the Ants, Siouxsie and the Banshees, The Cure, just a lot of bands that were breaking, not even breaking. I mean, nobody knew,” says Waugh. The team of WLIR DJs created a market that became the soundtrack of the 1980s. A notable among notable discoveries from that era was the single “I Will Follow,” by a then-unknown Irish band. Waugh remembers bursting into a music meeting with U2’s first release in hand, insisting that everyone listen. It was perhaps the first of many musically inspired interruptions perpetuated by
out to everybody I knew in the industry. Waugh that were not to be ignored. The feedback was pretty positive, but Sirius XM Senior Producer Patrick there wasn’t anybody who wanted to Ferrise worked with Waugh at WHFS sign him, except for a friend of mine in Washington, D.C., during the grunge who worked at DreamWorks Records,” trend of the 1990s. “When we first says Waugh. He and Greenwood flew to got the Foo Fighters cassette, [he] just Memphis to meet the studio executive, flipped out. He flew into the studio and Greenwood went home with a while we were on the air and said, record deal and a career that has lasted ‘Stop what you’re doing. You’ve got to decades. listen to this.’ He knew Dave Grohl Waugh takes his reputation as a was going to be the future of rock,” says tastemaker in stride. “I’ve championed Ferrise, who also reported that Waugh a lot of music that didn’t go anywhere. led the industry nationally on bands Then there are some [for whom] we like Counting Crows, Tori Amos, Jeff can proudly say we were so far ahead Buckley, and Matthew Sweet. of the curve and we totally recognized Waugh’s ears are not the only ones [the music] for what it was,” he says. he trusts. He encourages everyone Portugal. The Man is on his staff to field one such relationship new material and Waugh and recently accepted three “If you asked me for WRNR. Over the band names from a bartender who wrote what the biggest Oregon-based band’s career, them on a napkin. He thrill is in my 14-year WRNR has played goes to shows locally, nationally, and abroad, career, I would say all of its records. Its 2017 “Feel It Still” feeding what he calls it’s that moment of remained at number an insatiable appetite for new music. “If you opening up a new one on Billboard ’s Top Alternative asked me what the album . . . ” Songs chart for a biggest thrill is in my record-breaking career, I would say 20 weeks. “They won a Grammy!” it’s that moment of opening up a new exclaims Waugh, as happy for the band’s album, especially from an artist that you success as he is for being there from the care about, and putting the vinyl down beginning. and the tone arm, back in the day, and When Portugal. The Man came to listening to what has never been heard Delaware in June, the band gave one before,” he says. interview, with WRNR. The same Local bands send music into radio thing happened when Beck came to stations, begging a listen. In the midtown—Waugh was granted an exclusive 1990s, Waugh received a tape from sit-down lasting an atypical 30 minutes. Clarence Greenwood, whose stage name Waugh considers his interview style a is Citizen Cope. “I listened to ‘200,000 craft, challenging himself to create both (in Counterfeit 50 Dollar Bills),’ and as rapport and meaningful conversation. soon as that song was over, I picked up “Beck’s tour manager was knocking on the phone and called him,” says Waugh. the station room door to get us to wrap Greenwood went to meet Waugh at up,” he says. He considers that a high WHFS, and Waugh told him he was compliment. going to try to help further his career. “I took his music, and I started sending it
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Waugh has a youthful presence, defied only by a head of gray-brown hair and a beard of close-trimmed white stubble. He seems to maintain a typical suburban family life outside of work—he likes to grill, garden, bird-watch, and, according to friends, always has a book. However, unlike most middle-aged suburbanites, Waugh has attended an Orioles game with Joan Jett (whom he calls Joanie), dines with industry power brokers, travels to Brooklyn, NY to catch a blossoming new act at the request of a major record company, and scores exclusive interviews with musicians that don’t really need to do radio interviews anymore. Anecdotes about his relationships with soon-to-be or already famous musicians are best sought from his coworkers. He veers away from self-congratulatory name-dropping, stating on his resume that his references are available upon request. WRNR Music Director Carrie Neuman shared some stories about her boss and mentor. She remembers listening to Waugh on WHFS during her youth, but not until she began working with him did she become aware of his extensive connections. “As the years went by, I heard stories from other people. He’s sat down with Bono,” says Neuman, impressed. These relationships were earned during every decade of Waugh’s career, but the depth of his reach was publicly visible during his time as a creator, producer, and organizer of Washington, DC’s legendary HFStival—an annual, one-day, multiartist, live music festival for which Waugh secured the talent. Neuman describes the event as an industry innovation. “Where else could you see 18 bands all on one stage? The Ramones, Joan Jett, and Jewel, all playing on the same day? It was sort of unheard of at the time,” she says.
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Bob Waugh with The Record Company.
Bob Waugh with Mike Peters from The Alarm.
Bob Waugh with Beck.
Bob Waugh with Brit Daniel of Spoon.
Bob Waugh with Elvis Costello at WLIR.
Duran Duran comes to WLIR studios on Fulton Avenue in Hempstead in 1980. From left: Nick Rhodes of group, disc jockey Bob Waugh, Simon LeBon of Duran Duran, and DJ Ray White. Photo courtesy of WLIR.
Bob Waugh and Billy Idol.
Bob Waugh with the Adam Clayton and The Edge of U2.
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“Bob was really good friends with Joey Ramone. Not only did he call out Bob’s name and thank him on stage more than once, but he gave Bob his leather jacket,” says Neuman. Ramone, lead singer of The Ramones, was a WLIR listener and would call the station at 3 a.m., during Waugh’s shift. Waugh recollects the beginning of their relationship. “I’d be
Bob Waugh with Iggy Pop.
Bob Waugh with Tori Amos.
Bob Waugh with Anne Rice.
Bob Waugh and Rayland Baxter.
26 | Fall 2018
on the air, and the request line would ring. ‘Hey Bob, it’s Joey,’ and I’m like, ‘Yeah, right,’ and hung up. But he was persistent. He would make requests,” says Waugh, still in disbelief. The two eventually met and then worked together. The jacket was a thank-you for working on a project. Some years later, Waugh gave that jacket to a DJ friend experiencing dire financial distress.
Name-dropping begets dinner conversation, but according to WRNR Production Manager and morning show host Rob Timm, Waugh solidified his reputation based on substance. The pair has worked together for decades; they partnered on the WHFS morning show, and Waugh brought Timm over to WRNR. “Just because a lot of triple-A program directors may think that ‘XYZ’ is this great new record that everybody must start playing, if Bob thinks that record sucks, he’s not going to play it," says Timm. “That stuff sometimes drives the record companies insane, but frankly, I don’t think he cares.” Waugh repudiates industry expectations without consequence because of an ample supply of credibility. “Bob maintains extremely good relationships with people on all sides. Everybody recognizes what he has is integrity,” says Timm. “Rayland Baxter is a great example of an artist we stepped out on that not many stations played, but we didn’t care,” says Waugh. He fell in love with Baxter’s graceful harmonies and memoir-style lyricism on his
2015 album, Imaginary Man. Upon reading Baxter’s bio, Waugh discovered that the artist had graduated from Annapolis High School, barely a mile away from WRNR. “He’s really on the cusp of breaking out in a big way,” he says. This summer, Baxter was the featured artist on the July WRNR Rock ’N River Cruise. He also stopped by the station for an instudio performance and interview. “Nobody was knocking down [his] door to play my song. He believed in me as a performer and a writer,” says Baxter. The business of selecting WRNR’s music occurs during its Monday music meeting in Waugh’s office, where he and Neuman decide which two to four songs, or “adds,” will best enhance the weekly station playlist. They pore over sources, including industry charts and streaming and download data, studying what
Bob Waugh with Paul Shaffer.
national markets similar to theirs are playing. They’ll listen some together at work, but are really always listening for potential new adds. Neuman hesitantly hands Waugh a CD of her selections. “This first one is something we can wait on, maybe save it for later,” she says. One can only imagine how intimidating it is to share a new tune with Waugh. “Why wait?” he says, loading the player. The tune, by a band called Ash, is bouncy and lively, borderline pop but with an edge. Neuman watches his face. “It’s like Britpop. It’s like Arctic Monkeys, early Arctic Monkeys. The Kooks come to mind. Going back even further, it’s almost like Squeeze,” he says. The song seems to agree with him, but he wants to hear the rest before they decide. Advancing the track on the player by his desk, Waugh rubs his eyes and rests his face in his hands, anticipating the first beat of the next song he’s never heard before. █
Bob Waugh with Robyn Hitchcock.
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Lights, Camera . . . Boersma by DESIREE SMITH-DAUGHETY photography by GREGG PATRICK BOERSMA “Our job is not to f igure out the ‘how.’ The ‘how’ will show up out of the commitment and belief in the ‘what.’”
‒ Jack Canfield, Author and Motivational Speaker
regg Patrick Boersma’s mesmerizing images are built on a foundation made from an inherent wisdom often learned in the teachings of Jack Canfield. That wisdom is that wherever you put your attention, that is what you will attract into your life. As such, Boersma has moved the needle on his craft mastery, from nice pictures to arresting photographs that inexorably draw you in and make you linger, trying to pinpoint their magnetism. The reason for his shift could be due to his merging of two essential elements. “What I’m creating I believe is art, but it takes some elements of science to get there,” he says.
Griffin below the Academy Bridge, Annapolis, on a foggy Christmas Day, 2015. Griffin is owned by the photographer, Gregg Patrick Boersma.
30 | Fall 2018
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Flutist Naomi Littlefield photographed at Scott's Cove Recreation Area in Laurel, MD
“ It’s sort of a game for me— that’s the part I love, working with the lighting . . .”
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Triathlete Ana Miller training on Greenbury Point Road, Annapolis, MD.
Boersma describes himself as someone who has always pursued a series of obsessive interests, including backpacking and cycling. Photography, however, has consistently engaged him. For years, Boersma remained mired in the same spot where many photography enthusiasts live: able to wield a camera but not entirely sure how to maximize its gadgetry. Around age nine, he picked up his first camera, a 35mm, at a yard sale, and then progressed to building
a dark room in his parents’ basement. The opposite of dark is light, and that’s where, just a half-decade ago. Boersma began focusing his attention. He took advantage of a two-week Christmas holiday break to zoom in on one particular area, how to use his flash. “In fact, I hated using it, didn’t know how to control or operate it—just set it to auto,” he says. He wanted to master using the various settings, along with how to harness the intangible power of
Hayley Nicole Wright and a 1929 Ford photographed in a parking garage in Annapolis, MD. The car is owned by Ernie Wood.
light. Something about its subtle but impactful hold over optics snagged him. “I became obsessed with controlling the lighting,” he explains. As part of his selfeducation, Boersma set out to become proficient by practicing on the easiest subject at hand, his dog Griffin, and analyzing and deconstructing magazine photographs that he loved. Boersma played with offcamera flash—“and it’s gotten bigger and bigger,” he says. He
now uses portable studio strobes, which he portages to locations everywhere, whether a grassy field, body of water, or parking garage. The electricity that sparks Boersma is the conundrum that lighting presents. He puzzles how he can light a subject to make it as dramatic or as beautiful as he can. “It’s sort of a game for me—that’s the part I love, working with the lighting. Once you get lighting right, the camera work is relatively easy.”
While most photographs receive some retouching, the majority of Boersma’s are done onsite, using appropriate lighting. “If you get the lighting right, you don’t need a lot of Photoshop,” he says. He shifted from photographing Griffin to snapping other people’s dogs. It naturally followed that people wanted to be in the images, alongside their beloved canines. This presented a dilemma for Boersma, whose experience was firmly planted in the realm of
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Studio self-portrait of photographer Gregg Patrick Boersma.
every subject except people. Once again, he made another pointed decision and set a stretch goal: he would learn how to best capture people in images, to his standards. He connected with a model’s club based out of Towson University to garner the necessary practice and soon discovered people to be the subject he most enjoyed. “I now find it difficult to walk down the street because I look at people and think of how I’d 34 | Fall 2018
photograph them, how I’d light them, and what setting I’d place them in.” He seriously considers how to tell people’s stories through photographs. All of the environmental portrait work he does starts with an interview, in which he endeavors to draw out something deep inside of that person onto which to latch an image. “A film has thousands of frames to tell a story, a photograph
just one,” says Boersma. “It’s challenging, and a very big part of the thought process.” The planning, which he finds to be over 50 percent of the process, is something he loves about his work. Boersma will spend hours researching, first going online, using sources such as Google Maps to locate promising settings before driving out to decide which area would be the perfect site for what he wants to accomplish.
One example is a woman, also a musician, who wanted portraits done. She’d recently picked up the flute again after many years of playing other instruments. Boersma had the idea to have her poised playing the flute while standing in a lake, wearing a dress that floated about her on the water. He sent her shopping to find a polyester skirt that would properly float. Then he searched for a lake
that would perfectly capture what he had in mind and had certain elements: a view allowing him to shoot westward to include the sunset, and no manmade structures or development to sully the shot. After visiting and rejecting multiple sites, he found one that fit his vision. The result was an iconic shot that was, as he intended, “like a musical and spiritual rebirth.”
As for all of the preparatory work he puts into a photo shoot and the special lights he schleps to every location, Boersma says, “I never tire of it. I think that’s when you know you’ve found your passion.” █
Brooke Roush in Graffiti Warehouse, Baltimore, MD. Make-up and styling Photographer Gregg Patrick Boresma on a recent styled photo shoot by Nicole Palermo of Happily Ever After, LLC. with models in Annapolis. Photo by Alison Harbaugh.
For more info visit: www.greggpatrick.com
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“OH THE THINGS YOU CAN FIND IF YOU DON’T STAY BEHIND. ” - Dr. Seuss
Albrecht Dürer: Master Prints
Childhood Classics: 100 Years of Children’s Book Illustration
August 24 – October 14, 2018
October 24 – December 14, 2018
For information about all exhibition-related events, including tours, lectures, hands-on activities, and book club, visit sjc.edu/mitchell-gallery or call 410-626-2556.
Expect the Unexpected
St. John’s College | 60 College Avenue | Annapolis, MD 21401 Albrecht Dürer (1471 – 1528), The Fall of Man from “The Small Woodblock Passion,” c.1510. Woodblock print. Reading Public Museum, Reading, PA.
Dr. Seuss (1904 -1991), The Cat in the Hat, crayon on paper, c. 1970.
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s e i r a d n u No Bo by LEAH WEISS photography by GREGG PATRICK BOERSMA
& SAM DROEGE
etting to the Bee Laboratory, in the middle of the Patuxent Wildlife Research Refuge in Laurel, feels like entering spyland. The turnoff from Route 197 is remote and the gate requires a code to open. A small sign at the top of a windblown, grassy hill reads Endangered Wildlife Protection Area. To its left, set back from the road, the tan building is cordoned off by electrified fencing. But beyond the wire mesh, alongside the native flower garden, stands Sam Droege in hiking shoes, brown shorts, and a bright, flowered button-down shirt— near-perfect posture, tanned legs, arms, and face, creamy white hair pulled neatly into a short French braid. His body language conveys centeredness and calm. He’s speaking with two interns from Greenbelt’s Eleanor Roosevelt High School, discussing the details of their next experiment.
For over 30 years, Droege (pronounced drow’-ghee) has been a wildlife biologist, studying and surveying plants and animals. His government service began with birds and pivoted to bees in the early 2000s, when concerns about the serious decline in the US bee population came to a head. “Bees and a few other insects are involved in pollinating about 75 percent of our species of native plants. Commercially, almost anything with color is coming from a bee-pollinated crop,” he explains. “Wild bees are doing poorly, now. Honey bees are having problems, too.” Today, Droege is one of the nation’s leading bee specialists and species identifiers. He started the US Geological Survey’s Bee Inventory and Monitoring Laboratory from the ground up and maintains its extensive database, which includes breathtaking, high-resolution photographs of bees. Prolific in his
Sam Droege inspecting a bee through a magnifying glass, Patuxent Wildlife Research Refuge, Laurel, MD.
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Euglossa dilemma, male, from Biscayne National Park (2011). Photo by Sam Droege.
Sam Droege sitting at his office desk, Patuxent Wildlife Research Refuge, Laurel, MD.
work, he has written and collaborated on a legion of articles, guides, and protocols for monitoring pollinator communities, among them Bees of Maryland: A Field Guide and the sweetly titled The Very Handy Manual: How to Catch and Identify Bees and Manage a Collection (A Collective and Ongoing Effort by Those Who Love to Study Bees in North America). His email tagline reads, “Why Did You Mow My Flowers? – Bee.” He founded and manages the online bee inventory, monitoring, and identification discussion group. His passion for nature and inquiry pours out of him, touching everything around him. Take the Bee Laboratory, for example. Droege explains how he gutted and repaired the building, crimping the ends of the corrugated aluminum walls by hand to keep out mice. Inside, shelves are stacked with hundreds of pizza boxes containing thousands of specimens, all cleaned, mounted, and numbered. The camera set-up is a mix of high- and 42 | Fall 2018
low-end technology reminiscent of the movie Brazil. The lavatory is a sight to behold, with beautifully mosaicked walls and flooring constructed and pieced together by Droege; he had to stop work on the room because it did not meet government specifications. Everything in Droege’s built environment is functional and comfortable, and most of it is remarkable works of nature, science, or art. The same goes for his house, nestled against state land in Upper Marlboro. The inner walls, ceilings, and stairs are constructed from salvaged wood, much of which he milled himself, maintaining natural contours. Hand-tiled surfaces, artwork, and research equipment abound; a moth study is underway in the backyard. A cozy daybed beside a set of windows invites one to meditate on his vast native species garden. It’s a cross between an upscale Airbnb and a nineteenth-century prairie homesteader’s abode, deeply in harmony with nature.
“I have always felt that the phrase ‘You are what you see’ would best sum my general philosophy,” says Droege. “I don’t want to be government gray furniture, I don’t want to be a condominium, I don’t want to be drywall, I don’t want to drive a four-door Saturn, I don’t want to be lawn, I don’t want to take technical insect photos with a grey background. What I see and surround myself with has to feed my soul. Pursuit of beauty in the service of the world is my recipe for happiness.” He perceives no boundary between work and home life, ready to dive, with alacrity, into a bug study or a building project, be it a septic tank or a straw-bale house. If a compelling idea surfaces, he’ll pursue it. “I don’t have a whole lot of fear of trying and not getting it right. I tell the people at the lab, ‘Most of what we’re gonna do is not gonna work out. It’s gonna be a failure. But we’ll learn, and we’ll morph it into something—or maybe not! Just give it a shot and see what happens.’” “I was always fascinated with everything,” says Droege, recalling his youth. Across
the street from his childhood home in Hyattsville, he and a friend had run of the wooded area along the Anacostia River, making trails, watching animals, and collecting rocks. After developing their own rock taxonomy, a neighbor gave them a book on rocks so they could truly identify them. At age eight, his interest turned to birds, learning about and identifying each specie he saw. Seeking technical support pre-internet, Droege found Birds of Maryland and the District of Columbia by Robert E. Stuart and Chandler S. Robbins in the local public library and dreamed of acquiring the outof-print book. He thus began a circuitous search for Robbins to ask for a copy. While he never found the book, he found his people, including Robbins, in
Laurel, and was invited to join the local bird club, getting involved in bird banding projects and learning birdsongs by ear. Droege, however, is not a bird lister—“If I can’t remember I saw a clay-colored sparrow, then I need to see another claycolored sparrow,” he remarks with a twinkle in his eye. After college, graduate school, and a work stint in California, he returned to Maryland to work with Robbins at the Patuxent Wildlife Research Station. Much of Rachel Carson’s groundbreaking book, Silent Spring, sprung from research done at Patuxent. One of Droege’s nascent projects— partially influenced by a recent find of 1,300 dead bumblebees under some linden trees near DC—is working with contaminant scientists to conduct neonicotinoid studies on bees. “When
trees are treated [with insecticide], the tree takes it up and its sap becomes poisonous. If it’s a blooming tree, then the pollen and nectar are also poisonous, and you are disseminating that poison,” he says. Droege has no plans to retire. He’ll press on with his endeavors until he reaches his ultimate physical limit. “If I know I’m ready to die, I’ll walk out into the middle of somewhere and blow my brains out and let the animals eat me,” he chuckles. “I would leave a note for my family, so they can find dad’s skull!” █ See Droege’s bee photographs at www.flickr.com/people/usgsbiml/ Hear Droege’s TEDx Talk about bees at www.youtube.com/watch?v=fF3fWdwhEhw
Arizona poppy pollen on Protoxaea gloriosa. The fluorescent orange Kallstroemia grandiflora has fluorescent orange pollen. This bee loves it and becomes fluorescent orange as well. If it weren't for bees (and their kin), we would not have flowers with any color other than green. Orange bee collected by Tim McMahon on a trip to Cochise County, Arizona. Photo by Sam Droege.
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46 | Fall 2018
by WILLIAM F. ROWEL photography by JEANETTE LYNN KREUZBURG
Just because someone runs you down to the ground does not mean you can’t do something new.
his is a story about two women on a mission. It’s about evolution, inspiration, and the power of friendship. Jade Dee and Wilnona Marie are the masterminds of And I Thought, and forces of nature behind a burgeoning collection of books, lectures, workshops, podcasts, conferences, and television appearances devoted to empowering, elevating, and inspiring women. They host seminars and classes across the globe, helping independent authors by providing a platform for their writing aspirations. Uplifting yet candid, a whirlwind of good energy, they represent the limitless talents of Annapolitans on the world stage. As I swung open the front door to Dry 85 on Main Street to meet them for brunch, I encountered a
gaggle of laughter and joined what seemed like a party I was lucky to snag an invite to. But beneath the fun are also stories of pain, trauma, divorce, and hard-worn memories from bygone relationships. They are dedicated to helping other women navigate the survival and rebirth process by sharing their own life lessons through the written word. While completing each other’s sentences, their joy and passion for their work becomes apparent, accentuating the power of their partnership. And I Thought grew out of the deep bond these two women have shared since birth. While not siblings by parturition, they are sisters in spirit, describing their friendship as being life to them. What keeps them going after long days on the road, in the face of multiple projects and deadlines, is
Jade Dee and Wilnona Marie, best friends since early childhood.
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not wanting to let the other down— they are equally invested in the dream, the goal, and the journey. Dee and Marie grew up on the St. Margaret’s peninsula, just across the US Naval Academy Bridge, in the Brownswoods community. There, nearly everyone is family and shares a rich history of excellence rooted in the African American tradition of family, spirituality, and oral narrative. Marie describes herself as mostly a poet and a publishing company owner. In between these successes, she was married and divorced. The latter event challenged her belief that she could regain the emotional balance she needed to continue creating and growing as a writer, woman, and visionary. She gave up on poetry for a while, but Dee convinced to return to writing. While driving on Route 50, not quite to the Bay Bridge, Marie asked Dee, “If I were to return to poetry, what would I name my book?” Dee replied, “And I thought divorce was bad!” That serendipitous moment birthed the And I Thought movement. Marie has since written ten books in two-and-a-half years and, with Dee, built a transformative support system for other women. If she could do just one thing, it would be to save another woman from emotional abuse. She says that, as caretakers, women often believe they need to change to be the person a man needs to facilitate that man’s growth. But she insists that it’s more about how a couple can mutually grow, and she wants women to remember that—it’s about their growth as a woman, too. Dee beautifully sums it up, reminding Marie, “You thought it was going to be the end of you, but it was the beginning of you.” Wilnona Marie and Jade Dee are caught in contagious laughter as they recount various events that have occurred throughout their friendship.
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We spoke about
friendship, survival, self-preservation,
healing, and rebirth.
the And I Thought Ladies have been guests on television shows across the United States and in the United Kingdom. You can catch them on the And I Thought podcast, a Google Hangouts channel, a Roku channel, Drystone Radio, UK Indie Lit Fest 2018, and elsewhere. And I Thought Divorce Was Bad was their first book together, complete with inspiring stories and poetry. To date, they have published four books together; more are in the works. We spoke about friendship, survival, self-preservation, healing, and rebirth. As an African American male, I couldn’t help but acknowledge the destructive impact so many men have on women they profess to love. After spending an hour with Marie and Dee, I learned so much and saw how their work has a profound impact on women (and men) who have the privilege of hearing their message. Emotional abuse can be as devastating and demoralizing as physical abuse. Victims of relationship abuse and trauma may never fully erase their effects, but there is light on the other side of the pain. At every stage of the healing process, every woman needs strong support
systems, which can take the form of friendships, information from experts, and advice from women who have lived through similar experiences. As Maya Angelou said, “We need joy as we need air. We need love as we need water. We need each other as we need the earth we share.” █ For more information, www.andwethought.com/media
Wilnona Marie and Jade Dee at Dry 85 in Annapolis disscussing their book, The Miss-Fit Guides: A Sassy Sway That Leaves Crooked Footprints. (2018)
Dee has been married for nearly eight years to a man who not only understands but also encourages her strong bond with Marie. She believes we have different friends who serve different purposes; we have to recognize where they are, who they are, and appreciate them for what they are. She possesses the fearlessness and wisdom of a much older woman. When she speaks, she wraps her words around you, elongating them, matching her need for you to fully comprehend them. Speaking about female friendships and the threat that many men feel they pose in their relationships, Dee says, “If someone is a real friend, they are going to remind you of who you were and why you liked this person in the beginning.” The duo started the Inspirational Women in Literature, Media, and Journalism Conference to honor women who hadn’t been recognized, let alone rewarded, for their accomplishments. These women were the ones breaking glass ceilings as far back as the 1970s, and many were women of color. They paved the way for Marie and Dee to become the powerful voices, leaders, and visionaries of today. Women from abuse shelters are among those who attend the Conference, sharing coping skills that survivors might apply to their own healing and rebuilding. The And I Thought Ladies are more than Marie and Dee. They include a distinguished list of equally amazing women: Alexis Rose, Lin-Dub, and Shel-Bee. In addition to inspiring others, as facilitators at women’s conferences,
A selection of original works written by And I Thought Ladies.
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THE ANNAPOLIS COLLECTION GALLERY w w w. A n n a p o l i s C o l l e c t i o n . c o m
55 west street 21401 410-280-1414
Boule-et-Proof Flavors of Natural Levain by LEIGH GLENN photography by ALISON HARBAUGH
he bread names offer a bit of fanciful fun: Rough & Ready (with its sunflower seeds, millet, flax, oats, and sesame), Little Rosie (with rosemary), Carried Away (with caraway), and Q&A (for its inclusion of quinoa and amaranth). Taste them and you’d think that Bakers & Co. owners Lucy Montgomery and Chris Simmons have been baking for a lifetime. For the husband-and-wife team, the path to a stand at the Saturday Anne Arundel County farmers
market in 2007, and then the opening of their café in Eastport in 2012, has resembled a levain, a bread starter. Since they began baking, they’ve used the same levain—something they’ve lovingly tended and has grown, deepened, and become more complex with age. Today, they offer not only naturally leavened breads, but also muffins, scones, croissants, pasties, quiche, and even soups made from family recipes. Montgomery’s foray into baking occurred while attending St. John’s College. She needed to keep
Owner Lucy Montgomery and her youngest daughter, Gwen, water the flowers in front of their Eastport Bakery, Bakers & Co.
52 | Fall 2018
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Baker and owner of Bakers & Co. Chris Simmons prepares the popular market Buns for the morning customers.
Chris Simmons prepares fresh baguettes early in the morning at Bakers & Co.
A selection of pastries out for the morning customers at Bakers & Co.
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herself home so that she would be motivated to do her seminar readings. Her loaves were similar to what her mother made and what she enjoyed growing up. “Trying to master my mother’s whole wheat, I managed to make terribly heavy bricks,” she says. “Still, they tasted real. Which, honestly, is why we make bread— real food simply tastes good.” Montgomery met Simmons at St. John’s. They were often competitors in the kitchen, seeing who could make what, and better. This applied to breads, viennoiserie (pastries), and Christmas pudding. They took up bread baking on a whim one winter, after they’d read lots of books about it and knew what they liked. After a while, Simmons took a few classes at King Arthur Flour Baking School in Vermont, where he studied with master baker Jeffrey Hamelman. This was helpful, not only to gain knowledge of bread behavior and techniques, but also to help create a buffer against the inevitably recalcitrant processes involved in baking: “To paraphrase [Hamelman]: ‘The best thing about being a baker, whether you have a great bake or not-so-great bake, you get to do it all over again tomorrow,’” says Montgomery. The lack of predictability when it comes to a natural levain could send anyone running to the grocery store for a packet of dry or instant yeast, but not Montgomery and Simmons. For them, baking is a process to be managed. They think of it as a type of game—one they meet with heaps of humor to accommodate the challenges as well as their “moments of glory.” Says Montgomery, “There are always the latest gadgets and recipes for making a convenient
yeasted loaf of bread, but the results are not the same as bread that takes time. Natural levain demands a level of care that not all of us are capable of on a daily basis. There is science and there is art.” In recent years, bread has gotten a bad rap in some circles. But the questions are: What kind of bread? What kinds of ingredients? How is it made? “True bread is flour, water, salt,” says Montgomery. “Natural, wild yeast is what is attracted to these ingredients.” And all together, they make magic. Even though many bakeries use commercial yeast and starters in combination, says Simmons, Bakers & Co. uses only natural starters for its breads and no preservatives or conditioners. “We are at the mercy of a fickle, living thing that dictates your schedule—a bit of a diva amidst
the full orchestra of viennoiserie, muffins, cookies, galettes, etc.,” says Simmons. When using a natural starter, everything has to be just right. “It’s all about time, temperature, general activity. You need it to behave at a specific point and specific time. Levain has a life of its own, and things are always changing. Despite your best efforts, you are always having to make adjustments. You are constantly gauging time, temperature, humidity,” he explains. The payoff is worth it, looking at the bench full of shaped boules in the baskets ready for their final proof. The proof is also found in the community of people that has sprung up around Bakers & Co.—whether at the Saturday farmers market or at the café, which is open Wednesdays through Sundays—people are
always running into others they know and conversing. Montgomery, who handles the farmers market, takes deep inspiration from the customers, from Jim monitoring his garden for the first tomato of the season to blush, and Juanita and Pat, who share their hopes for glimpsing a brown thrasher on their bird-watching adventures, to Simon and Ruth, who recommend different recordings of Schubert’s Winterreisse, and Mrs. Barbera, whose smile is joy incarnate. “Bread is about community,” says Montgomery. “It’s not surprising that the etymology of ‘companion’ comes from the person you break bread with. By baking in a community, it’s really a way of taking care of your friends and neighbors.” This is
what saddens her about people’s current obsession with dietary and lifestyle food choices. “Sure, it’s valid, but it does sometimes make food an enemy,” she says. “Carbs, gluten, whatever is the latest evil, and what people substitute to avoid these things [are] perhaps equally suspect in excess. As my granny always said, ‘A little of what you fancy does you good!’ Or, if you want to be more highfalutin about it—it’s Aristotle’s sense of the middle way, between the extremes. If you don’t eat in excess, there is a lot to enjoy.” █
A busy Friday morning at Bakers & Co. in Eastport. Customers come in for fresh baked breads, pastries, soups, and coffee and tea drinks. Behind the counter: Hannah Hall, Emily Tahaburt, Joel Bourland, and owner Lucy Montgomery (with tray).
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– Julia Gibb
them into his art. He balanced the darkness with his affinity to the luminous. He artistically used lights during his drumming performances, rendered his paintings so they seemed to glow from within, and spoke fondly of experiencing natural bioluminescence by the sea. Also an animal lover, he mourned his Siberian husky, Tristan, long after the dog’s death. When Kamajian connected with someone, he connected deeply, leaving a lasting impression. As Chip Chenery describes his friend, “To me, he was almost an elemental being—eternal. I never thought in a million years he’d be gone from this world. But, as usual, he’s cutting into the next one and making room for us on that canvas, just like he did here.”
June 23, 2018
riends of Alfred T. Kamajian, known to many simply as “Kamajian,” remain stunned by the sudden loss of the gifted visual artist, illustrator, and musician who left this world on June 23. An exceptionally private person, Kamajian possessed a big, soft heart and an engaging manner. Once in conversation, he could draw one into deep discussion about art, science, spirituality, or politics. He had a keen appreciation for beauty and especially enjoyed the company of comely women. With his quirky sense of humor, he celebrated “Milla Mondays” on Facebook, posting weekly photos of the famed Milla Jovovich. Kamajian had an affinity to the dark things in life—the weird, the creepy, and the monstrous— incorporating
D ave Glaser was, flat-out, a giant in the greater Annapolis rock music scene. His four-plus decades of performing and songwriting with his longtime friend and music partner John Van Dyke—together widely known as The Van Dyke and Glaser Band (his other notable bands being Telluride, The Band of 1,000 Names, and Guitars from Mars)—set a standard of musical excellence that fueled and inspired succeeding generations of area musicians. The Annapolis rock music scene, stunning in its diversity and stellar musicianship, would not be what it is today without The Van Dyke and Glaser Band.
– Matt McConville
Since his all-too-abrupt departure, it’s difficult to estimate the number of people, musicians, and fans who have sincerely and lovingly expressed the degree to which Dave touched, and in many cases positively affected, their lives. What stands out, beyond his prodigious talent, his fierce intelligence, and his decency, was his stunning, fearless generosity. Dave shared everything he had: his music, his instruments, and his hard-earned wisdom. That alone makes him a giant.
Dave Glaser May 7, 1956–June 8, 2018
The Prince of Naptown
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Mysterious Marcia Talley The
by LEIGH GLENN
photography by CAITLYN MAE
annah Ives is a reluctant sleuth who lives on Prince George Street in Annapolis and solves mysteries wherever life leads her. In Daughter of Ashes, by Annapolis-based mystery writer Marcia Talley, Ives and husband, Paul, refurbish a cottage on the Eastern Shore, only to discover a mummified toddler in the chimney. That incident—coupled with a murder and near-murder—and Ives’ fortuitous work as a researcher of old, moldy, local land records, makes the mystery a page-turner, taking readers on a journey through Chesapeake Country, MD, with Big Chicken, the 1950s color line, and various cover-ups. Talley has led Hannah Ives fans through 16 adventures, and counting. Her foray into mystery writing was a “shameless Nancy Drew/Hardy Boys ripoff ” in eighth grade. Despite her English teacher’s admonition to “write what you know,” she didn’t let that stop her. She
dove into Alfred Hitchcock films and kept writing crime fiction until full-time work and motherhood meant shelving the stories. Then a breast cancer diagnosis and subsequent treatment alerted her to things she needed to finish, including mysteries to be written. An Oberlin College alumna, Talley majored in education. At the time, women were encouraged to have something to fall back on. She taught elementary and middle school until her first pregnancy; women had to stop teaching when the baby bump became apparent, and the tent dresses worked only for so long. Talley had to go on maternity leave three months before labor. During that time, she typed catalog cards for the Bryn Mawr School library in Baltimore, the same work she’d done in college to help pay tuition. That launched her into a career as the cataloger at St. John’s College after her husband, Barry, accepted a teaching job at the US Naval Academy and the family moved
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to the Annapolis area in 1971. More education—a master of library science at the University of Maryland—and a knack for programming led to work integrating computer systems for the US government. Stints at Sewanee Writers’ Conference and Bread Loaf Writers’ Conference helped
Talley's collection of works.
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Talley develop her chops in storytelling—mysteries in particular. She entered her first work, Sing It to Her Bones, in an annual conference contest and was surprised when she won. Agents phoned, unsolicited, to represent her, and she got a three-book deal with Bantam Dell publishing. Readers of mysteries enjoy the goosebumps, the waves of hope elicited by the protagonists, the hair-raising climaxes, and the releases that follow. But for mystery writers, the motivations may be different. Says Talley, “I don’t have to tell you that the real world is a messy, violent, frequently unjust place. Mysteries can be a respite. In my fictional world, I call the shots. Justice is served and the villain suitably punished. I love the puzzle aspect of the mystery, planting clues and dropping red herrings. As for me, personally, there have been a lot of people in my life who needed to die. In a mystery, I can bump them off with a stroke of my pen, and it’s cheaper than a therapist. I find many literary ‘book club’ novels deeply depressing, and as for romance, well, I’ve met a lot of people I’ve wanted to kill, but very few that I’d want to sleep with.” Protagonist Ives, whom Talley describes as “a bit like a superannuated Nancy Drew,” has some things in common with her creator. She, too, is a breast-cancer survivor who loves to sail and is married to a professor at the Naval Academy. “She’s funnier than I am, though,” says Talley, “and braver. Younger and prettier, too, although just as curious and fiercely independent.”
Talley with her latest work by the bay window.
She pays little attention to debates about formats—print or electronic. What’s most important is fair compensation and that people want to read what she writes. “We write the best novel we can, deliver it to our publishers, sit back, and go with the flow.” █
Talley writes first drafts in long hand, during which Ives offers wry comments on what’s going on around her. She edits her first drafts while typing them into the computer, then prints out the novel triple spaced and goes somewhere quiet for more editing, eventually sharing her revisions with her writing groups. The process takes about a year. She’s been with an Annapolis mystery critique group since 1996, which first met at “the late, much lamented Mystery Tales Bookshop in West Annapolis” and now at Barnes & Noble, and also belongs to one in Hope Town, Bahamas, where she and her husband sail during the winter. In the wake of her novels, Talley has left a trail of bodies, in Eastport and Ginger Cove, on the stage at Mahan Hall, on the DC Metro, one floating face down in the South River, and elsewhere. She aims for accuracy: “If someone tosses a bloody knife into a dumpster behind McGarvey’s Saloon, there’ll be a dumpster there.” One fan wrote to Talley that she took a tour of Annapolis, visiting all the local sites that Ives did. “Maybe I should produce an annotated tourist map?” she muses. If only there were time. Once Talley finishes a book, she looks to TV and newspapers for potential future story hooks. Finding one, she asks, “How can I get Hannah believably involved in this?” Then she dives into research. For recently submitted work, she gets back suggested changes from editors, then copyeditors take a crack, followed by her own set of proofs. After publication, Talley supports the work with readings.
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Masterworks SEASON Sound Hear the Movie
José-Luis Novo, Music Director | The Philip Richebourg Chair
5:30 - 7:30 PM | Prelude Party 8 - 10 PM | Concert 10 PM - Midnight | Encore Party
Ode to Freedom George Gershwin An American in Paris
November 16 & 17 | 8 PM
March 1 & 2 | 8 PM Moonlight & Movie Music
Grieg Peer Gynt: Suite No. 1 Charlie Chaplin The Rink (projection of film with live period music) Stravinsky The Song of the Nightingale John Corigliano The Red Violin Chaconne Netanel Draiblate, violin
Mozart Symphony No. 25 Annapolis Film Festival Short Feature Music selected by Maestro Novo Mahler Adagietto from Symphony No. 5 Revueltas La Noche de los Mayas (The Night of the Mayas)
May 3 & 4 | 8 PM
Eric Whitacre Deep Field Aaron Smith, conductor Beethoven Symphony No. 9 José-Luis Novo, conductor Janice Chandler-Eteme, soprano Stacey Rishoi, alto John Matthew Myers, tenor Philip Cutlip, baritone
Mozart Piano Concerto No. 20 Brian Ganz, piano Berlioz Symphonie Fantastique
December 14 | 8 PM Holiday Pops Cathie Ryan A Winter’s Heart Celtic Music Celebration Cathie Ryan
Sergei Prokofiev Symphony No. 5
Love Stories, Oscars & Fairy Tales
March 29 & 30 | 8 PM
The U.S. Naval Academy Glee Club
Maurice Ravel Concerto for Piano (Left Hand) Pascal Rogé, piano
May 11 | 2 PM Family Concert Bob Brown Puppets’ Carnival of the Animals Meet the musicians after the show!
Bob Brown Puppets
FOR TICKETS, CALL THE BOX OFFICE: 410-263-0907 | PURCHASE ONLINE: ANNAPOLISSYMPHONY.ORG
8/9/18 5:14 PM
FACES by THERESA C. SANCHEZ
rom the slight raise of an eyebrow to a playful pout of the mouth, people often speak volumes without saying a word. At any moment, on any given day, the average person engages some of the 43 muscles in the human face in various combinations to display up to 21 expressions. Whether purposeful or subconscious, these forms of nonverbal communication help convey emotion. They are also as essential to creating a successful portrait as the interaction between subject and artist. Members of the Maryland Society of Portrait Painters (MSPP) claim portraiture to be the most
challenging art form to pursue because people demand a certain level of resemblance. “Portrait artists try to go beyond just the likeness in an attempt to capture some unique aspect of a person,” says David Lawton, oil and pastel artist, painting instructor, and MSPP’s president. He says that even if you take a hundred photos of someone, only a few might really capture their personality. He believes the end product should prompt people to exclaim, “Oh yeah, that’s him!” While there’s no question that the human face is as fascinating as it is ubiquitous, its universal appeal is debatable. Lacking a familiarity
Members start drawing and painting the model. Paintings were part of Face-to-Face: The Evolving Story of Sandy Spring, Sandy Spring Museum, Sandy Spring, MD. Photo by Teresa Cowley.
64 | Fall 2018
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with the visage staring back at you or the notoriety of the creator behind it, one might not have reason to linger and look at a portrait. MSPP recognizes that and understands the personal nature of portraiture, and kept it in mind when assembling this past summerâ&#x20AC;&#x2122;s exhibit at the Willow Gallery in Quiet Waters Park. Unlike previous shows itâ&#x20AC;&#x2122;s
Joanna Barnum, MSPP Accredited Member, watercolor artist. Abingdon, MD.
Generations (2017) by Joanna Barnum. Watercolor, 15"x 22". Created for MSPP's exhibit Face-to-Face: The Evolving Story of Sandy Spring, Sandy Spring Museum: a portrait of two residents of Sandy Spring who volunteered to participate in the collaboration.
Sandy Cohen, MSPP Accredited Member, oil painter. Annapolis, MD.
Sunny Boy by Sandy Cohen. Oil, 14"x11".
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Melissa Gryder, Exhibition Chair, MSPP Accredited Member, oil painter. Annapolis, MD.
Paps by Melissa Gryder. Oil, 24"x18". This portrait of the artist’s grandfather is the first in a series of portraits of Maryland farmers. The project entitled Farm Crisis is meant to bring attention to the dying tradition of family farms in Maryland.
Andrée Tullier, Membership Chair, MSPP Accreditied Member, oil and pastel painter. Annapolis, MD
coordinated, the all-members collection of 88 paintings, drawings, and sculptures, by 34 different artists, added landscape and still life pieces to make it accessible to a wider audience. Broadening the showcase’s scope benefitted the novice MSPP members by giving them an opportunity to step into the spotlight. Lawton—who joined the volunteer-run, nonprofit organization a decade ago and has been its president for the past six years—said he had to convince
Ahren Buccheister by Andrée Tullier. Pastel, 16"x12". Muscians of Annapolis project.
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some of his less-confident colleagues to submit work. “Everyone has talent and ability, it’s just a matter of whether it’s developed or not,” he says. For him, each subject matter builds on another. Landscapes require decisiveness, forcing the painters to react to what they’re seeing in real time. Still life offers more control of the material, lighting, and time. Portraiture combines those skillsets, yet also necessitates drawing expertise. Exhibiting finished artwork is considered the final step in the artistic production process. “The tradition of portraiture does not survive on its own. The knowledge must be learned,
Bill Mapes, oil painter. Gaithersburg, MD The Wrangler by Bill Mapes. Oil, 20"x16".
Pamela Wilde, MSPP Accredited Member, oil painter. Abingdon, MD. Peter by Pamela Wilde. Oil, 12"x12" . This painting is one of many that she has painted since January, 2018. All are created in a live 3-hour Alla Prima session as part of her “Portraits from Havre De Grace” community art project.
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practiced, and then passed on to the next generation,” says award-winning sculptor Rick Casali and MSPP’s vicepresident. “To be a portrait artist you must love people and remain constantly curious about the world. It’s always a joy to be around these types.” The range of proficiency among the MSPP’s current 100 members might vary, but they have one thing in common, and that is documenting all aspects of life, says Andrée Tullier. The painting instructor serves as MSPP’s membership and accreditation chair. Like some of her peers, she also works as a full-time professional
artist; other members include part-time artists, retirees, students, and hobbyists. “We’re not just a portrait community, we’re an art community,” says Tullier. MSPP’s next exhibition will take place at Annapolis City Hall, from October 8 to November 28 and its next annual meeting is slated for November 11 at Anne Arundel Community College. █ For more information, visit MSPP’s website: www.mdspp.com
Lesa Cook is a sculptor and painter living in Burkittsville, MD.
Diane Monday, MSPP Accredited Member, oil painter. Annapolis, MD.
Elpis is Alive by Lesa Cook. Terra cotta sculpture, 5"x16"x7".
Late Tea with Grandad at Place Stanislas by Diane Monday. Oil, 24"x30".
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Photo by George Kendall Warren circa 1879
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Celebrating a Life by JANICE HAYES
appy 200th birthday to Maryland’s most celebrated native son and my personal guide to a greater understanding of the peculiar institution of slavery—and to discovering the founding families of Asbury United Methodist Church on West Street in our historic city of Annapolis. Born into slavery along Tuckahoe Creek on Maryland’s Eastern Shore, Frederick Douglass is known to many as the rebellious runaway who championed the abolishment of slavery. Not only did he give thunderous orations against the institution of slavery, but he also had ties to President Abraham Lincoln during the American Civil War, published the North Star, advocated for women’s rights, and is on record as the most photographed American of the nineteenth century.
In 1818, his birth was recorded in an inventory of Anthony Auld as “Frederick Augustus, son of Harriet Feby.” Listed with scores of other enslaved men, women, and children, Douglass and others were chattel property of Auld, overseer for Colonel Edward Lloyd V, Maryland’s former governor, who possessed the second-largest slave holdings in the entire colony. Douglass experienced the cruelty of slavery—the need to control and conform vast numbers of human chattel to plantation life—from his owners, carried out by the overseers in their employ. These expereinces consistently fueled his hatred and contempt for the institution of slavery, compelling him into a lifetime of resistance. After his escape from slavery, via Fells Point, Douglass traveled the world and pioneered the abolition
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of slavery worldwide, growing in prestige at every turn. During the American Civil War, Douglass convinced President Lincoln that the War for the Union could be won if the hand of the black man was released to fight for the freedom. In his words, “Once let the black man get upon his person the brass letters U.S., let him get an eagle on his button, and a musket on his shoulder, and bullets in his pocket, there is no power on earth that can deny that he has earned the right to citizenship. There is no negro problem. The problem is whether the American people have loyalty enough, honor enough, patriotism enough, to live up to their own constitution.” Through Douglass’ efforts, War Department General Order No. 143 was signed into law,
creating the United States Colored Troop. “Men of Color, to Arms!” was their battle cry. Records show that 180,000 black men, enslaved and free, were recruited, and after the war, many of them carried out careers in the US military, including at the US Naval Academy. Scores of black and white men from Anne Arundel County served to fight for ending slavery; among these records, I have found two third-greatgrandfathers: Nicholas Hopkins and William Booze. Throughout his life, Douglass recounted life on the plantation of the Lloyds. His earliest memories were of the creolized West Indian family who raised him, the food for the families of the slave owners versus the slaves, the deaths, the floggings, the poverty, and the Lloyds. Among those observances
were the Lloyds’ “favored few” who worked in the “Big House,” the masses who worked the fields, the culture of plantation life during slavery, and the differences between the two settings. Douglass wrote of what he witnessed in his autobiography, My Bondage and my Freedom: Behind the tall-backed and elaborately wrought chairs, stand the servants, men and maidens— fifteen in number—discriminately selected, not only with a view to their industry and faithfulness, but with special regard to their personal appearance, their graceful agility and captivating address . . . These servants constituted a sort of black aristocracy on Col. Lloyd’s plantation. They resembled the field hands in nothing, except in color, and in this they held the advantage of a velvet-like
Essential reading for Frederick Douglass enthusiasts. Photo by Karen Davies.
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glossiness, rich and beautiful. The hair, too, showed the same advantage . . . so that, in dress, as well as in form and feature, in manner and speech, in tastes and habits, the distance between these favored few, and the sorrow and hunger-smitten multitudes of the quarter and the field, was immense; and this is seldom passed over. (pp. 109–110) Here, Douglass also lays the first clue to the founding families of the Asbury Church. The favored few—many of whom were “mullatos” of mixed race—also traveled with the Lloyd family to Maryland Avenue in Annapolis during the meeting of the General Assembly. One of these favored few was Sall Wilks. She lived with her daughters at Maryland Avenue and managed to marry them off to free men of color in Annapolis.
Douglass recounts what was said of Wilks’ son William, described as a negro called “Wilkes,” as white as any white man on the plantation, and with a striking resemblance to the Lloyds. Prompted to do further investigation, “Annapolis Sall,” as she was called, allowed her teenaged daughter Sarah to marry young Reverend Henry Price, son of Smith Price, who gave the land and founded, with others in 1803, the First African Methodist Episcopal Church of Annapolis. It is known to us today as Asbury United Methodist Church. During his final days, Douglass’ son Charles began constructing what was to be his summer home near Walnut Creek. This community, currently known as Highland Beach, was the first incorporated township of African Americans in the nation. A plaque affixed on the home reads, “Here I sit, a Freeman, looking across the Bay to the Eastern Shore where I was born a slave.” More recently, Maryland Senate President Mike Miller and House Speaker Michael Busch proposed to honor the life and legacy of this esteemed Maryland son with a statue in the State House. The location being considered is the Old House of Delegates Chambers, where Maryland, during its Third Constitutional Convention, abolished slavery, effective November 1, 1864. Thank you, Frederick Douglass. You still continue to teach. █ Frederick Douglass house and museum. Photo by Karen Davies.
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78 | Fall 2018
Of the Cloth by DAVID O’HIGGINS photography by JOHN BILDAHL
raig Coates is a man of the cloth in more ways than one. He is a nondenominational bishop, which could be construed as being multidenominational. He also designs haute couture—a particular aspect of the fashion trade that concerns itself with the unification of multiple strands of cloth to create beautiful expressions. Coates is also the visionary behind the Annapolis men’s hair salon My Brother’s Keeper. His hitherto incisive observation concerning said establishment was that “men don’t talk to each other enough, but one of the few places they actually do converse is the barber’s shop.” He understands that dialogue is
an essential element for building a strong fabric of community relations. His idea was to create a space or medium where men could discuss neighborhood issues, thus bringing about a shared sense of local social unity. Couture means sewing or joining together. Today, Coates is weaving his experience and expertise to promote social discussions that bind themselves to a new and greater cultural tapestry, namely the advancement and civilization of the role of women in the clergy. He designs attire for women of the cloth, and through his fashion creations he is braiding a texture that speaks to the imperative of female equality and freedom of expression within the religious world.
Bishop Craig Coates.
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“ That moment steered me to focus more on women’s attire.” Coming from a churchgoing family, Coates’ initial interest in fashion was inspired by his grandmother, whose house he recalls as “always overflowing with pieces of fabric and thread.” At an early age, he learned how to cut cloth, and was designing garments by twelfth grade. It wasn’t until a particular event, in the 1980s at his high school, that he began to intertwine his religiousness with his ability to design clothes. Ebony magazine’s Fashion Fair, which raises money for African American charities, came to his school. The show and its benevolent intent so transfixed him that he knew, from then on, that he was going to become a fashion designer.
Photo courtesy of Bishop Craig Coates.
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Photo courtesy of Bishop Craig Coates.
robes. As his religious duties increased, however, his focus on couture began to ebb. In 2013, he had another revelation. “Pastor Candice Owens was a woman priest I sent out to create a fellowship in Baltimore,” he recalls. “I wanted to give her a present. I designed a dress for her—she posted an image of it on social media. The garment got rave reviews; everyone wanted to know who designed it. That moment steered me to focus more on women’s attire.” While he had always designed for men and women, his decision to concentrate on women’s wear was due to the rigors of demand and affordability. Creating men’s fashion is much more expensive and can be somewhat limiting in
Photos courtesy of Bishop Craig Coates.
terms of artistic expression. Coates’ sartorial philosophy as a designer of female fashion for the church is that creations should be “modern but priestly.” He considers the female silhouette and what best fits her body. “Women in the priesthood are still not liberated or affirmed,” he opines. “They are just accepted. They are [perceived as] standing in for men. Women priests are, in essence, clothed in men’s religious garb. Why can’t she send a woman’s message? Why can’t she wear a religious garment that reflects her femininity? I always begin with the purpose of the garment. What is the message the garment needs to send? What does convention need to hide in terms of femininity within the clergy?” Yes, Coates is a man of the cloth. His mission is to create an exchange of ideas that ultimately advances the presence of women in the church, ergo the role of religion in modern life. That moment steered me to focus more on women’s attire. █
Another occurrence that helped shape his vocation was an afterschool fashion course. When the woman who led the course resigned her position, Coates took over the job, at age 16, and went on to win business awards while continuing with his studies. Talk about entrepreneurial spirit. For any young, aspiring fashion designer, New York City is the place to be. But Coates resisted those bright lights, choosing instead to pursue his true ambition to answer the voice of the needy in Maryland. He worked for fashion companies such as Stephani and JB House of Fashion, which served to consolidate his design chops. In the late 1980s, Coates was ordained as a minister and continued designing clothes for men and women, particularly choir
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