As we all know, movie theaters are one of the many casualties of our current COVID-19 sheltering protocols.

Some big studios have already addressed this problem by releasing their new films via video on demand. But for those of us who crave the kind of indie cinema championed by the Parkway Theatre, dropping $20 for The Hunt or Ben Affleck’s The Way Back just isn’t going to cut it.

That’s why the folks at the Parkway decided to partner with some of the small, independent distributors they work with to provide virtual cinema to its audiences.

Of course, the distributors could have chosen to skip the middleman (in this case, the Parkway), but they have a good reason for not doing that.

“Both of these distributors understand the importance of art house cinemas and how they provide an outlet for independent films that don’t have that national [promotion] machine behind them,” says Q. Ragsdale, the theater’s director of marketing. “We’re so excited to bring our audience these virtual screenings.”

The first two features are Oscilliscope’s Saint Frances and the Brazilian thriller Bacurau, distributed by Kino Lorber.

Saint Frances tells the story of a nanny who, after receiving an abortion, finds friendship with the 6-year-old she’s hired to watch. And Bacurau is described as a film about a “vibrant, richly diverse backcountry Brazilian town that finds its sun-dappled day-to-day disturbed when its inhabitants become the targets of a group of armed mercenaries.”

According to Ragsdale, both films have tested very well with the Parkway preview audiences who got to see clips.

Accessing the films is quite easy. Audiences can go to the Parkway’s site and purchase $12 virtual tickets for the film they would like to stream. Though the Parkway site isn’t hosting the streaming links, it redirects audiences to the websites of the distributors. Then, just as normal, the theater and the distributor are able to share the profits.

I know what I’m doing this weekend.

Visual Art

Voices: Joyce J. Scott, Oletha DeVane, Christopher Bedford
Don’t miss your chance to hear from two of the guiding voices of the Baltimore art scene, jewelry maker and sculptor Joyce J. Scott (who was recently named the 2019 Smithsonian Visionary Artist) and multimedia artist Oletha DeVane. In this conversation moderated by BMA director Christopher Bedford, the pair will discuss their works, their inspirations, and the city they both call home. 7-8 p.m. April 10. Church of the Redeemer, 5603 N. Charles St.

TAPROOT
Two artists with varying backgrounds but shared experiences meet in this exhibition examining colonialism, consumption, and how they work their ways into the other parts of life. Working from their distinct perspectives “one of assimilation and one of frequent migration between continents,” Catherine Khammouane and Samiha Alam will present sculptural pieces that express their view that “what is manmade is natural.” Artist talk 5-7 p.m. April 6; on view through May 4. Waller Gallery, 2420 N. Calvert St.

Pile of Craft
Head to Space 2640 to peruse more than 50 vendors’ wares at this 13th annual craft fest hosted by Charm City Craft Mafia. Past favorites such as Annie Howe Papercuts and Tiny Dog Press will be on hand, and several new vendors will be hawking everything from rosé jelly to 3d paper and watercolor plants for those whose thumbs aren’t quite green. 10 a.m.-4 p.m. April 27. Space 2640, 2640 Saint Paul St.

Music

Abdu Ali Album Release Show
Abdu Ali has one of the most powerful voices in Baltimore music right now, and this launch of their debut album, FIYAH!!!, is going to be one heck of a party. Catch Ali’s blend of punk, rap, and Baltimore Club from the Ottobar’s intimate stage before this New York Times-lauded artist really blows up. Doors at 8 p.m., show at 9 p.m. April 26. Ottobar, 2549 N. Howard St.

Theater

Come From Away
When planes were unexpectedly forced to land following 9/11, some 7,000 people found themselves stranded in the small town of Gander in Newfoundland and Labrador, Canada. What began with tragedy grew into a week of friendship and humanity among travelers in unfamiliar territory and the town that took them in. This award-winning musical based on their true story is not to be missed. April 23-28. The Hippodrome Theatre, 12 N. Eutaw St.

Pink Milk
Single Carrot is leaving its Remington home behind soon, but first they have another story to tell. This Technicolor reimagining of codebreaker Alan Turing’s life story from Chicago-based playwright Ariel Zetina explores Turing beyond his history-making work. Zetina is also working with Single Carrot to update the text and score for the first time since writing the piece in 2013. Gala opening April 27, runs through May 16. Single Carrot Theatre, 2600 N. Howard St.

Film

Making Cinema Matter: Masterclass with Sandi Tan
Singaporean filmmaker, zine publisher, and writer Sandi Tan returns to her cult roots for this workshop and screening of 2018’s Shirkers, which premiered and earned the World Cinema Documentary Directing Award at Sundance in 2018. Tan and her cohorts made what could have been a cult hit in 1992, when they were just teens, but their film was stolen by an American collaborator. Shirkers follows Tan back to Singapore to revisit the film, the American who stole it, and what both of them did for her dreams. Free screening at 7 p.m. April 5, masterclass April 6, 10 a.m.-1 p.m. The SNF Parkway, 5 W. North Ave.

Literature

CityLit Festival
CityLit is known for bringing great authors and events to bibliophiles of all stripes at their annual fest, and this year is no different. During this day-long celebration of all things literature, visitors can attend more than a dozen session and check out the Literary Marketplace to pick up a few more additions to their nightstand stacks. Stick around for keynote speaker Dani Shapiro, whose memoir, Inheritance, delves into what happens when family secrets find their way to the surface. 9:30 a.m.-5:30 p.m. April 27. University of Baltimore William H. Thumel Sr. Business Center, 11 W. Mount Royal Ave.

Hilton Carter’s Wild at Home Book Signing
Local plant expert Hilton Carter’s Baltimore home is filled with more than 300 ferns, cacti, and other green friends. His lush designs on have earned him national attention, but he’s sticking close to home for this celebration of his first book, Wild at Home. Grab some friends and head to Trohv on Earth Day for a book signing, Q&A, and cocktails with the Instagram plant guru himself. 7-9:30 p.m. April 22. Trohv, 921 W. 36th St.

Could Led Zeppelin possibly have played the Wheaton Youth Center gym on their first U.S. tour on January 20, 1969—the night of Richard Nixon’s inauguration? The short answer: maybe.

Jeff Krulik, a former Discovery Channel producer and independent film director responsible for the cult classic Heavy Metal Parking Lot, brings his more recent documentary Led Zeppelin Played Here to the Parkway Theatre this Saturday, February 16, on the 50th anniversary of legendary band’s well-documented show a few weeks later at the Baltimore Civic Center.

We asked Krulik, 57, a Bowie-native with Baltimore roots, a few questions about his career and his documentary, which earned significant play on the festival circuit after its 2011 release. Krulik will be on hand Saturday for a Q&A after the 4 p.m. screening.

So, first, the Led Zeppelin Played Here screening this weekend is timed to coincide with the 50th anniversary of the band’s first appearance in Baltimore.
They played the Civic Center several times, 1970, 1972, 1973, but the first time was Feb. 16, 1969 when they opened for Vanilla Fudge. I’m hoping some people who were at that show come out Saturday.

We’ve got to ask about Heavy Metal Parking Lot, which for those who have not seen it (and everyone should), is a documentary short shot in the parking outside the old Capital Centre in Landover before a 1986 Judas Priest concert. What’s the reaction been like over the years from people who’ve seen it? What do fans say to you?
There are always people who say, ‘I was there.’ But they don’t necessarily mean that particular concert. They usually mean, they hung out in the Capital Centre parking lot for one show or another. Or some place similar during that period. ‘That was me’ kind of thing. Or ‘I knew those people.’ I also get ‘What happened to all those people?’ They all turned okay (laughs.) It’s kind of a cultural anthropology.

In Led Zeppelin Played Here, Baltimore also makes an appearance. You visit with the Globe Posters founders and, it turns out, one the world’s largest collections of Led Zep memorabilia is held by a local guy.
My mom is from South Baltimore and I still have family in Baltimore. I grew up going to Cross Street Market and Federal Hill.

We don’t want to give too much away, but essentially the mystery comes down to the fact there is no hard evidence Zeppelin played the Wheaton Youth Center gym. No surviving tickets, ads, concert posters, fliers, etc. Except, a handful of people claim it happened and say they were there—and that, surprisingly, the Wheaton Youth Center was booking some big, upcoming bands back in the day.
Nils Lofgren, Dr. John, Rare Earth, Rod Stewart and Faces—nobody questions them. They just question Led Zeppelin.

The premise is no one knew Led Zeppelin. Their album had just been released eight days before in the U.K. and only 40-50 people turned out.
We’ve reached out to people in the Led Zeppelin circle, but of course it would just be a blip to them. And we’ve never heard back. There’s just no conclusive evidence, which would be unheard of today, and that’s also what makes the whole thing interesting. Although I have learned more since and I’ll share some of that Saturday. It used to be listed on ledzeppelin.com as a date and then after our film it was changed to ‘unconfirmed rumour.’ Really kind of funny.

You believe the show happened.
Yes.

Last question—what was your first concert?
Bad Company. 1977 at the Capital Centre. Some of the girls in homeroom went to see Led Zeppelin two weeks before, but they didn’t ask me to go.

“Mr. Van feeds ’em chili peppers,” an older man, chatting up a pair of two-and-a-half-foot-tall macaws, informs a buddy as they wait for a bus outside Pearson’s Florist on the corner of North Charles and North Avenue. “Makes them talk more.”

“It does,” Vander Pearson, the longtime shop owner, confirms later, adding friends “Shiloh” and “Partner” have served as his sidewalk welcoming committee for five and 10 years, respectively. “I got them to keep me company. I take them out of the cage when I bring them inside so they can stretch their wings.” Every few days or so, “Mr. Van” likes to hold the big birds on his lap, careful to mind their beaks as he strokes their bellies.

The soft-spoken, but steadfast Pearson, 59, opened his storefront at the crosshair intersection that divides East and West Baltimore almost four decades ago. A Rite-Aid and a Payless shoe store were across the street back then, as well as a men’s clothing store, which burned to the ground and is now the site of the repurposed Ynot Lot. There was also the bank, the shuttered building where Gov. Larry Hogan stuck his temporary Baltimore reelection office, but not before pasting over a rooftop billboard that read “Whoever Died From a Rough Ride?”—a reminder of Freddie Gray’s death in police custody.

O’Dell’s, a popular, if notorious, disco—one owner was involved in a major heroin ring, and shootings outside the club were not uncommon—let loose a few doors down before closing in 1992. In fact, the cozy flower shop earned its 15 minutes of fame during season two of The Wire, essentially standing in for itself when Bodie came in to buy a funeral arrangement after “co-worker” D’Angelo Barksdale was killed. (On cue, as we’re discussing The Wire filming, a young man enters right before closing and asks for a dozen roses, which he pays for after pulling a baseball-sized roll of $20 and $100 bills from his jacket.) “There was foot traffic the first five years, but it was a little chaotic, especially with O’Dell’s,” says Pearson, who has witnessed the blossoming of Station North, including the renovation of the historic Parkway Theatre directly out his window, from the best possible perch. “Between 1987 and 1992, everything left. But no, never thought of leaving. People kept coming to see me. A scared man can’t win anyhow.”

When the Maryland Institute College of Art bought the old Jos. A. Bank building and transformed it into a graduate center, Pearson noticed a turn. College kids with drawing assignments began showing up to buy day-old flowers, which he gladly gave away.

Pearson got his start in the flower trade at 12, unloading deliveries at Crip’s Family Florist in West Baltimore. After moving to the east side, he began working at wholesale florist Claymore C. Sieck. In 1981, with Easter and Mother’s Day falling close together, he scraped together as much cash as he could, bought as many roses as he could from his employer, and sold them himself at the corner of North Avenue and Harford Road. He netted $6,000 those holiday Sundays and spotted a “for rent” sign in the window of his now-back room.

For years, he pulled his early shift at Sieck’s before opening his own shop in the afternoon. A lifelong bachelor, he still arranges every order personally and occasionally spends nights at the shop when orders keep him swamped.

“I learned from Mr. Crip. I’d add a flower or two to an arrangement he’d been working on,” Pearson says, referring to Clarence Crip, the late respected West Baltimore flower man. “He let me know if he didn’t like it, which hurt my feelings, but I learned. He told me to think of a bouquet as a canvas and you’re making a painting. That stuck with me.”

Recently, with his 60th birthday upcoming this March, Pearson got his first passport. Having seen it all, he wants to see something else.

“I watch the Travel Channel,” he says. “I’ve put a little money aside. After prom season, I plan to take a cruise to see the Alaskan glaciers. Then, I want to hike the Alps and visit Rome.” Working late hours and living alone all these years—dinner has often meant a sandwich or bowl of cereal before bed—he also intends to visit Paris. “I watch the Food Channel, too.”

Before Maya Arulpragasam became the genre-bending rapper M.I.A., she dreamed of being a documentary filmmaker and hoped to chronicle narratives she rarely saw, like those of her family, Tamil people, and other marginalized communities.

Now, viewers can get a glimpse of that world with new documentary Matangi/Maya/M.I.A. by director Stephen Loveridge, which premieres at the Parkway Theatre on Friday, October 19. The film offers new insights about the life, trials, and activism of an artist whose sound ruled the early 2000s.

In the film, we learn that her father was a Sri Lankan revolutionary, a founding member in the Tamil Resistance Movement, a collective who fought against the genocide of the Tamil people. In 1995, when Maya was 10 years old, she and her family were forced to flee Sri Lanka, and emigrate to an immigrant ghetto in Britain. While there, Maya was exposed to struggles of other peoples and found a particular connection to the African-American experience through hip-hop and by reading anti-colonial literature from scholars like Frantz Fanon.

One of the highlights of the documentary is its inclusion of behind the scene footage of M.I.A. traveling around the world to gather sounds for her second album, Kala. In an effort to produce a truly global sound, M.I.A. worked with musicians in Sri Lanka, Trinidad, Jamaica, Central Africa and Black America, with significant time spent in Baltimore. One thing that always drew me to the soundscapes M.I.A. produced on Kala was the bass and meter it sourced from Baltimore Club. It is no surprise that Philadelphia-bred producer Diplo was highly influenced by Baltimore Club and reached out to legendary Baltimore-based producer Blaqstarr to work on cuts for M.I.A.’s second album, Kala. Tracks written and produced by Blaqstarr include “The Turn” and “World Town,” which incorporated elements from Blaqstarr’s classic banger, “Hands Up Thumbs Down.”

Music aside, the film’s recurrent theme is that of conflict—M.I.A.’s struggle to find balance between the privilege and ambivalence of celebrity, and her self-imposed responsibility to, like her father, use her platform as a vehicle to address devastating civil injustices in Sri Lanka. Family photographs, found footage, and documentary video shot by Maya, intercut with more recent footage by Loveridge, a longtime friend and early art school classmate, reveal the artist’s eminent failure to leverage her celebrity for the freedom of Tamil people and also maintain her celebrity.

Every culture has a caste system, an “othered” population that usually has a darker complexion, follows a religious system other than Christianity or a belief that is outside of the Abrahamic religious structure, or is a different ethnic group or class than the nations ruling class. The documentary reveals that, despite these global inequities, people, especially those from so-called first world nations, quickly forget that we are implicated by our avoidance to combat systemic inequalities.

In 2010, around the release of Maya, an album notoriously reviled for its visceral music video “Born Free,” which depicted the violence of genocide by using white, red-haired victims in place of people of color, M.I.A. went on a media tour to call out the Sri Lankan governments participation in the genocide of Tamil people. The response was anything but favorable. Major media outlets including The New York Times and The Guardian, among others, quickly mocked and discredited her motives. In many ways Matangi/Maya/M.I.A. seems to try to shift the narrative away from that gas lighting, and the perception that M.I.A. was merely an airheaded, unintellectual persona, towards a more realized and historically nuanced reflection, in the artist’s own words, about her journey to become M.I.A. and her persistent support for the freedom and protection of Tamil people.

The documentary is a slow burn that leaves a lasting impression about how quickly one’s politics can make them fall out of favor with popular culture.

It’s a tall order—asking a native New Yorker to make a documentary about violence in the streets of Baltimore that doesn’t feel like dilettantism or cultural tourism—but filmmaker Marilyn Ness is more than up to the challenge. Her Charm City, which premieres this Friday at the Parkway Theatre, was filmed over a three-year period in Baltimore just before and after Freddie Gray’s death and the subsequent Uprising, and takes a look at our crime problem from a variety of perspectives—the cops, the lawmakers, and those living the life, every day on the streets.

Charm City manages to feel equal parts authentic, despairing, and open-hearted, and it even leaves some room for hope. I had a chance to talk to Ness about her journey creating the film. About two-thirds through the interview, Clayton “Mr. C” Guyton, the director of the Rose Street Community Center and one of the film’s stars, stops by and joins our conversation.

How did you decide to film in Baltimore?

MN: I had been reading about all the deaths in police custody, you know, these African-American men, these high-profile deaths and I thought, “There’s never context.” So we wondered what would it look like if you went to a city where there was both the police and the policed and tried to see what was happening day in and day out other than just reflecting on the cataclysmic moment that the news tends to focus on. We had called the Department of Justice and said, “Where’s a city you think is trying to find a way forward?” and they were like, “Hands down, Baltimore.” We came down here in December of 2014.

Right before Freddie Gray.
MN: We had been here for four months before Freddie Gray . . . and we stayed and filmed, just sort of staying the course of what we had planned to do. We had two epiphanies. [One] epiphany was this: No matter how [big the cataclysm] and no matter how much leadership changed at the top, what it meant to be a patrol officer on the ground or a community member just trying to get by didn’t change really. It turns out day in day out life is the same. Everyone’s just doing life.

What was the second epiphany?

MN: We wound up being in Baltimore during the three most violent years in recent history and, whether you were with community members or police officers, they all talked about it in the same way. It was like, “What can we be doing as individuals to try to change the equation, how do communities life themselves up?” And we realized there was more similarity than difference as they talked to us. Not to say there wasn’t major tension and anger and years of distrust that had been built, but they were kind of coming at things from the same place. That to us also felt like an epiphany. The media will pit communities of color against police officers and vice-versa. There was a way in which everyone was singing the same song.

The film feels pretty sympathetic toward the police.

MN: These are issues that the communities and cities haven’t been able to solve for years and yet we feel comfortable sending in police officers often very young, 22 to 25 years old, with guns who are looking at this problem day in and day out. And we started to think, maybe we’re asking police to do too much.

Director Marilyn Ness

Did you have concerns about being an outsider who comes into Baltimore? That maybe this wasn’t your story to tell?
MN: So it’s completely a concern I had coming in. The way we tried to deal with it, actually my whole crew was local. My PA [production assistant] wound up being my co-producer, a woman named Meryam Bouadjemi—she knew this town, loves this town, is from this town. I said to her, “We’re not looking to do a slam job. We’re really trying to understand what is the beating heart here.” She threw herself in and was incredibly committed to helping make sure we saw all those sides of Baltimore.

Everyone seems so relaxed in front of the camera. What was that process like?
MN: We spent months without a camera. As soon as you put a camera in the mix, that human interaction ends. And then I slowly added the camera. The first days are useless. Everyone is still uncomfortable and doesn’t even know how to walk through a door with a camera following them. Over time, everyone gets their groove on. And then they kind of forget that we’re there. My scariest moment was when we screened the film for all the subjects. Thankfully, everyone felt that we represented their truth and this was the city they knew and understood and that we captured that.

Mr. C, one thing I sensed watching the documentary, the people in your neighborhood really trust you.

CG: You have to be there for them. No matter what time it is, 1 am, 3 am—if you’re angry and you want somebody to talk to, or you may not even want somebody to talk to, try us. Try us.
That’s a slow process. They have to feel that somebody, not necessarily that they feel your pain, but that you’re willing to walk with them. You got be real about that. . . . And once they know you’re totally committed, that’s half the battle.

MN: You watered the garden no matter which flower it was. And one day they need you and you’ve done the work that lets them come to you. We felt that from the first days we met you. I didn’t understand what I was seeing. But you understood that these guys, who look hard and tough and mad, were here with you and showing up for the [daily Rose Street Community Center] meetings and hearing the word and you could see love.

CG: They give what they get. You love them, they love them back.

Mr. C, tell me your reaction to seeing the film

CG: It’s like looking at a picture of yourself. The first time I looked at the film, I didn’t really feel it. I was distant, for whatever reason. No reaction. The second time, the ice melted a little bit. The third time, there were some parts that made me tear up.

You’ve screened the film at Tribeca and at the Maryland Film Festival. What’s that reaction been?

MN: I will say this about Mr. C, because he’s too humble: People are incredibly moved by him and the power of what he’s doing. They walk away from the film feeling hope, that there are people on the ground trying to stem the tide [of violence] with love.

When Jed Dietz’s wife, Julia McMillan, retired as a full-time pediatrician and hospital administrator in 2016, he took a wait and see approach to her level of happiness.

“I was curious how that would work out. She really loved what she was doing,” says Dietz, the founding director of the Maryland Film Festival. “[But] it worked out great!” he notes, sounding vaguely surprised. Dietz said McMillan had more freedom for family and hobbies but was still able to sit on the American Board of Pediatrics and mentor former residents who came to town.

This got him thinking.

Now, two years later, Dietz, who turned 70 last January, is following in his wife’s footsteps.

Sandra L. Gibson, a nationally recognized leader in arts management and administration, will take over as interim director on November 1. From there, the board will launch a search for a new executive director.

“It’s a mashup of feelings,” Dietz admits. “I’m excited. And I’m nervous. I think I’m going to miss everything. I say that with full confidence that this is the right thing to do at the right time.”

The MFF had already begun a strategic planning campaign for 2019. Now finding Dietz’s permanent replacement will be part of those plans. Dietz hopes to be as involved—or uninvolved—as the board wants him to be.

He says he’ll remain a MFF board member (although he’ll likely recuse himself from the executive director search) and also continue to run the Maryland Filmmakers Fellowship, which nurtures rising talent.

“I want to do whatever it takes to keep the [MFF] going,” Dietz says. “But I also want to get out of peoples’ way.”

Dietz founded the Maryland Film Festival in 1999 and oversaw its growth into one of the most respected and beloved small festivals in the country. In May of 2017, the MFF opened the full-time Parkway Theatre, which shows independent and revival films and hosts film-related discussions and events.

Dietz, a true cinephile, plans on remaining a fixture at the Parkway. He also says he looks forward to buying his all-access pass to the yearly festival, which takes place every May. (Something tells me he’ll be able to score a comp pass.)

Beyond that? He has vague plans. He actually wants to attend more film festivals, but this time just as a civilian. Then maybe summers in Martha’s Vineyard? Or renting a villa in Tuscany? All options are on the table. Well, except for one.

“I hate golf,” Dietz says.

Visual Art

First Fridays Free Curatorial Tour: Meleko Mokgosi: Acts of Resistance
As part of a free series at the Baltimore Museum of Art, curators give tours of exhibitions they curated and explain the shows in further detail, providing rich insight into the artists and their work. This month, senior curator of contemporary art and department head Kristen Hileman will lead a group through the much-talked-about show Meleko Mokgosi: Acts of Resistance. Mokgosi explores race and gender through intimate yet larger-than-life portraits and paintings of domestic environments. Curatorial tour from 2-3 p.m. Aug. 3; the show remains up through Nov. 11. Baltimore Museum of Art, 10 Art Museum Drive.

We Are Everywhere: Travels of the African Diaspora
Photographer Schaun Champion will show images from Baltimore and around the world that represent the African diaspora in her exhibit We Are Everywhere: Travels of the African Diaspora at Ida B’s Table, a beloved Southern soul food restaurant in downtown. The show is part of the monthly series Necessary Tomorrows, created by resident curator Sharayna Christmas to feature work that complements the visit and mission of the restaurant. Opening reception and artist talk, 5-8 p.m. Aug. 7. Ida B’s Table, 235 Holliday St.

Counterweight
Sera Boeno, Cevahir Özdoğan, and Noa Heyne examine concrete as a material and as a gender—its cultural and sociological implications and history—in the show Counterweight. Artist talks, a printmaking/archiving workshop with Lebanese archivist and artist Celia Shaheenon (Sept. 9), and an exhibition catalogue release on Sept. 21 will accompany the show. Aug. 10-Sept. 21, opening reception from 7-10 p.m. Aug. 10. The Menial Collection, 243 W. Read St.

Music

Summer in the Squares: Symphony Number One
Pull up a chair (or blanket) for the finale of this season’s Summer in the Squares. Symphony Number One will perform at Mount Vernon Place for the free series of shows that bring the work of emerging composers to the stage alongside beloved pieces by classical greats. During this show, the Baltimore-based chamber orchestra will feature the Aaron Copland’s “Appalachian Spring” alongside new works and pop favorites. 7-8:30 p.m. Aug. 29, Mount Vernon Place, 699 Washington Place

Baltimore International Surf Music Showcase
Four instrumental surf acts from around the world will take the Ottobar stage this month for a totally tubular night. Headlining the show will be Surfer Joe, based in Italy and often called the “international surf ambassador.” The legendary California surf band The Volcanics, and Les Agamemnoz (France) will also perform alongside local surf rockers the Flying Faders. 8 p.m. Aug. 15. Ottobar, 2549 N. Howard St.

Art/Sound/Now: Suldano Abdiruhman and The Compositions
In collaboration with the High Zero Foundation, The Walters Art Museum will present its annual ART/SOUND/NOW, featuring artists creating soundscapes throughout the museum’s various gallery spaces. This year’s event highlights work by interdisciplinary artist Suldano Abdiruhman, a member of the artist collective BALTI GURLS and cofounder of 4c Gallery. 7-8:30 p.m. Aug. 23. The Walters Art Museum, 600 N. Charles St.

Film

High Fidelity / Empire Records Double Feature
When a beloved music shop in Baltimore turns 25, a nostalgic screening of two cults classics is in order. The Sound Garden was born in 1993, and shortly thereafter, the films Empire Records and High Fidelity were released—in 1995 and 2000, respectively—both set amid the backdrop of record stores. And if watching these back-to-back on the big screen weren’t nostalgic enough, please note they’ll be screened on 35mm. 7-11 p.m. Aug. 30. The SNF Parkway Theatre, 5 W. North Ave.

Theater

Variations on Sacrifice
Rapid Lemon Productions will present its annual Variations Project this summer with Variations on Sacrifice. Eleven 10-minute plays by local authors will premiere during two weeks, followed by a third week (new this year) of staged readings of eight additional plays. Audiences of 2017’s Variations on Magic voted to select this year’s theme, Sacrifice. Plays, Aug. 3-12; staged readings, Aug. 16-19. Baltimore Theatre Project, 45 W. Preston St.

Literary Arts

‘Sentiments’ by Press Press: Baltimore Book Launch
What could be better than a summertime potluck? A summertime potluck hosted by Press Press, with readings to satiate your palate. The launch of “Sentiments: Expressions of Cultural Passage,” the latest publication by Press Press, will feature readings about creating sanctuary, by Bilphena Yahwon, Rami Karim, and others, beginning at 5 p.m., plus a reading of “Manifesto for Sanctuary-Building & Sanctuary-Keeping.” Bring along a snack or something to grill at this community potluck of Baltimore creatives. 3-7 p.m. Aug. 11. Press Press, 427 N. Eutaw St.

Miscellanea

Comedy, Music and Poetry Showcase with Heda Rose and Guests
A lineup of Baltimore talent will take the Motor House stage for an evening of poetry, standup comedy, and music, headlined by vocalist, songwriter, actress, model, activist, and film producer Heda Rose. The remaining lineup includes comedian Larry Lancaster, comedian Ebony “Miz Jaxxxn” Jackson, comedian Ray Diva, and poet Gradalove. Heda will perform a comedy set and music set with a live band. 8-11 p.m. Aug. 31. The Motor House, 120 W. North Ave.

Fluid Movement’s ‘The Water Ballet’
The Baltimore-based performance art group Fluid Movement channels the master of suspense Alfred Hitchcock for its latest production, “The Water Ballet” at Patterson Park. Take a deep dive into all that horrifies you. Day and night shows, Aug. 3-5. Patterson Park.

Visual Art

Devin Allen’s A Beautiful Ghetto exhibit
Baltimore street photographer Devin Allen became known across the nation for his work after one of his images of the 2015 Baltimore protests was featured as the cover of Time magazine. Three years later, and in honor of that anniversary, the Institute for Integrative Health will exhibit a series of his black-and-white photos documenting the riots in A Beautiful Ghetto. Maybe more importantly, the show will serve as a launchpad for community-wide discussions. This kicks off with an artist talk during the opening reception, where his 2017 book by the same title will be available, and it continues with various events with a focus on healing, such as the April 13 dialogue with artists, writers, and leaders about creating healing spaces for their communities. The Institute for Integrative Health, 1407 Fleet St. Opening reception: 6 to 8:30 p.m. March 15.

Adam Davies: Reroutings
Creative Alliance resident artist Adam Davies will transform the space there to bring us Reroutings, an exhibit of his large-format film photographs of outdoor structures that have served as unofficial public forums (think graffiti-strewn bridges and unexpected street art found during a stroll). The gallery space will be completely darkened and the walls painted black and replaced with his huge (56- by 70-inch) photographic images, which will be lit from behind. Alex Zhang Hungtai of Dirty Beaches will perform his lo-fi electronica soundscapes—which were an influence on the photography series—during an opening reception on March 10, and more events will follow. Opens March 10 at the Creative Alliance, 3134 Eastern Ave.

Stephen Towns: Rumination and a Reckoning
Story quilts are an African-American tradition dating back at least some 200 years. Some historians believe that secret codes were sewn into quilts, providing maps for navigating the Underground Railroad. Baltimore artist Stephen Towns continues in this tradition, exploring themes of slavery and perspectives of women and people of color through his large-scale fabric and bead-work pieces, often featuring faceless black figures that appear as silhouettes. The Baltimore Museum of Art will exhibit 10 of his quilts in Rumination and a Reckoning beginning this month, seven of which depict the story of Nat Turner and his 1831 rebellion. As if that weren’t enough, the museum will host Towns in conversation with internationally renowned artist Mark Bradford. March 7 through Sept. 2 at the Baltimore Museum of Art, 10 Art Museum Drive.

Music

Baltimore Plays The Miseducation of Lauryn Hill 20th Anniversary
Hard as it may be to believe, it’s been 20 years since the release of the seminal album The Miseducation Of Lauryn Hill. In a homage to the work, several artists—Jasmine Pope (J Pope and the HearNow), Christen B, Joy Postell, Karin Sings Evans, Marc Avon Evans, Jamaal Black Root Collier—will gather at the Creative Alliance to perform its tracks in their own style. March 18 at the Creative Alliance, 3134 Eastern Ave.

Theater

Humbug: The Great P.T. Barnum Séance
Magician David London will attempt to summon the spirit of The Great P.T. Barnum via—what else?—séance in his new show Humbug at The Peale Center. While we can’t guarantee audiences will make contact with the legendary showman, we do guarantee the exhibition of genuine Barnum artifacts (honestly, that might be a hoax, too—in the spirit of P.T. Barnum, of course). March 8 to 25 at The Peale Center, 225 N. Holliday St.

Film

Everything is Terrible!’s The Great Satan
Imagine being able to get a taste of more than more than 2,000 horror, satanic, and religious films in under two hours. You don’t have to imagine anymore. Everything is Terrible! has done the work for you, creating a narrative from scraps of material to make the kitschy, trippy new film The Great Satan. In their own words: “Since the dawn of time, man has searched for answers . . . and failed. But the fog of existence has finally cleared thanks to the eternal fruits of your favorite found footage collective.” The makers will be at the theater to present their film as part of their cross-country tour. Guests are encouraged to bring offerings of VHS tapes of Jerry Maguire. March 7 at SNF Parkway Theatre, 5 W. North Ave.

Kékszakállú

Baltimore’s Matt Porterfield, best known for his films Hamilton and Putty Hill, will host and do a Q&A at two screenings of the gorgeous Argentine film Kékszakállú, co-written and co-produced by him and directed by Gastón Solnicki. The coming-of-age film’s title and inspiration comes from the opera Bluebeard’s Castle and follows a group of upper-class girls as they enter the world outside of their privileged lives. March 2 to 8 at SNF Parkway Theatre, 5 W. North Ave.

Literary Arts

An Evening with Laura Lippman at Federal Hill Prep School
Baltimore’s literary darling and New York Times bestselling author Laura Lippman will be at Federal Hill Prep School as part of a book tour for her latest release, Sunburn. The novel tells the story of Polly, a runaway wife who’s ready to start a new life but wasn’t quite ready to fall in love in the process. March 24 at Federal Hill Preparatory School, 1040 William St.

Five things to eat, drink, see, hear, and do with your Charm City weekend.

 EAT

Feb. 3: Fifth Annual Chili Cook-Off

The Wharf Rat, 801 S. Ann St. 1-4 p.m. $5-10. 410-276–8304

When the weather dips below 40 degrees, there is really only one remedy: a fireside bowl of chili at a neighborhood pub. Enter The Wharf Rat, which has been asking its patrons to make their favorite chili recipe to see who can be crowned cook-off king or queen. Whether you prefer yours mild or hot, with beans or not, vegetarian or full of meat, head down to Fells Point this Saturday to sample all that these local cooks have to offer. In addition to the English-style ales on tap and in the cask, Wharf Rat will be pouring beer by Bell’s Brewery, so you can have a couple Two Hearted IPAs to wash your chili down. The best part is the event benefits BARCS and its mission to care for homeless and unwanted animals in Baltimore City.

 DRINK

To Feb. 3: CiderCon

Locations, times & prices vary.  

Move over craft beer and local cocktails—cider is having a moment in the sun. In fact, the crisp apple beverage has been on the rise for years now, and this week, CiderCon is in town to unite enthusiasts, makers, and curious crowds over this age-old concoction. This weekend, participate in activities throughout the city—from tastings of more than 75 ciders at the B&O Railroad Museum to a cider social at Charm City Meadworks. Just don’t miss out on the cider parties at Wet City, where you can try Graft Cider’s latest release of Cloud City and enjoy a food pairing led by Vermont’s Shacksbury Cider. 

 SEE

Feb. 2: Groundhog Day

The SNF Parkway, 5 W. North Ave. 7:30-9:10 p.m. $8-10. 443-438-6144.  

There’s no better way to celebrate Groundhog Day than watching Harold Ramis’s 1993 comedy of the same name. After 25 years, Groundhog Day still a crowd favorite with the lovely Andie MacDowell and the inimitable Bill Murray at his very best. On Friday evening, a few hours after Punxsutawney Phil dictates our future forecast, either celebrate or abate your sorrow with a screening of this cinematic treat inside the historic Parkway Theatre, hoping that spring comes early and Saturday starts anew. 

 HEAR

Feb. 3: SZA

Rams Head Live, 20 Market Pl. 8-11:30 p.m. $25-30. 410-244-1131.  

At only 27 years old, R&B singer-songwriter Solána Imani Rowe, aka SZA, has quickly become a name to know. Her most recent album, Ctrl, hit number one on the charts and helped her become the most-nominated woman at the 2018 Grammys, though unfortunately, she didn’t take any accolades home. That being said, we’re fairly certain we’ll see her back there next year, and until then, hear the Jersey artist’s hits for yourself during her Saturday performance at Rams Head. 

 DO

Feb. 2: Groundhog Day Party and Fundraiser

Congress Hotel, The Marble Bar, 306 W. Franklin St. 5:30-10 p.m. $30-100. 410-625-2585. 

Before there was the Ottobar, Baltimore had the Marble Bar. In the late ’70s and mid-’80s, this underground club in the old Congress hotel was the place to be for punk and new wave music, even attracting then little known acts such as the Psychedelic Furs, Talking Heads, and Iggy Pop. The iconic venue has been collecting dust for years, but now the Baltimore Architecture Foundation is giving it new life for their annual Groundhog Day celebration. For one night, experience a legendary part of Baltimore’s music history with eats by La Cuchara, drinks by WC Harlan, records spun by Baby’s on Fire, and live music by Baltimore’s own rising indie-pop-rock band Super City, all to support the BAF’s goal of upholding the city’s architectural legacy. 

Visual Art

Reflections: Intimate Portraits of Iconic African Americans
Photographer Terrence A. Reese’s career has led him to take portraits of such stars as Lauryn Hill and George Clinton. The artist, who goes by TAR, will exhibit a selection of his work at the Reginald F. Lewis Museum this month in the show Reflections: Intimate Portraits of Iconic African Americans. Black-and-white images will depict such luminaries as the Nicholas Brothers and Gordon Parks in their natural environments and living spaces so as to better reflect who they are, through their personal objects, style, and the context of their lives. Wednesdays through Sundays, Feb. 1 through Aug. 12, at Reginald F. Lewis Museum, 830 E. Pratt St.

Artist talk with Shirin Neshat
Iranian artist Shirin Neshat explores gender, identity, and politics in her work, as well as the differences in culture between the West and Muslim countries. Because she tackles such complex themes, there is no shortage of questions and discussion surrounding her work. It also makes her a perfect candidate for MICA’s Mixed Media lecture series, which brings to Baltimore artists from across the globe. For this installment, Neshat will be in conversation with Baltimore Museum of Art Director Christopher Bedford. 7 p.m. Feb. 15 at Falvey Hall, Brown Center, 1301 W. Mount  Mount Royal Ave.

Music

Charm City Django Jazz Fest
Nothing like some live gypsy jazz to add a little heat to a cold winter’s day. Creative Alliance has got us covered with not one but three days of its annual Charm City Django Jazz Fest, which will bring in acts from across the region and world, including headliner Samson Schmiit, a legendary Manouche gypsy guitarist from France. Swing on by to see Sara L’abriola, Ultrafaux, ‘Nuff Said, and others, to experience a range of styles within the genre. Feb. 23 to 25 at the Creative Alliance, 3134 Eastern Ave.

Out of Darkness: Two Remain
A new opera looks at what you might consider atypical Holocaust survivors: one, a political prisoner, and the other a homosexual Protestant, both of whom used words to overcome the traumas of captivity during the war. World-renowned composer Jake Heggie developed the two-act opera based on the true stories of these characters who “survive through their poetry,” says Garnett Bruce, stage director of the Peabody Chamber Opera’s production of the piece. Feb. 8 through 11 at Theatre Project, 45 W. Preston St. The composer and librettist will attend opening night, with a talk following the show.

Theater

Constellations & Crossroads
Constellations & Crossroads is a theatrical double-header steeped in American history and exploding with life. Baltimore Rock Opera Society partnered with Arena Players, Baltimore’s historic African-American community theater, to present two short musicals in their entirety, backed by a live band. The Determination of Azimuth tells the story of Katherine Johnson, a black mathematician who worked for NASA and was responsible for comp[uting paths for rocket ships sent into space. Battle of Blue Apple Crossing leans more on fiction to tell the tale of blues legend Robert Johnson, said to have sold his soul to the devil in exchange for musical ability. The score follows America’s musical heritage from field spirituals to rock ’n’ roll to garage rock. 8 p.m. Feb. 9 through 18 at Arena Players’ venue at 801 McCulloh St.

All She Must Possess
The Rep Stage premiere of All She Must Possess tells the story of Baltimore’s famed Cone sisters, Claribel and Etta, extravagant world travelers and collectors of art and curios. During the early 20th century, they stored thousands of paintings—including work by Matisse and Picasso, among other greats—in their homes, amassing what would become one of the world’s largest collections of modern art (a large portion would eventually be housed at the Baltimore Museum of Art, where it is today). In the theatrical version of their lives, written by University of Maryland Baltimore County professor Susan McCully and directed by Rep Stage artistic director Joseph W. Ritsch, paintings come to life and Gertrude Stein—Etta’s lover—makes an appearance. Coinciding with the play is an exhibition of historical women’s clothing from the Cone sisters’ time, on display at Howard Community College’s Rouse Company Foundation Gallery through March 11. The play runs Feb. 8 to 25 at Rep Stage at Howard Community College.

Dance

The Community Project
Each year, The Collective pulls together dancers from the community and pairs them with a professional choreographer to develop the Community Project performance. This year, 22 dancers—ranging in age from teens to baby boomers and across all skill levels—met on several cold January weekends to rehearse under dancer Caitlin McAfee for this year’s show, which is but one component to the Baltimore Dance Invitational. Set to Indian Wells’ song “Cascades,” the group will show through movement how the mind races, gets distracted, and follows its own trails of thought. Gordon Center for Performing Arts on Thursday, February 15, 2018 at 7:30 p.m. Feb. 15 at the Gordon Center for Performing Arts, 3506 Gwynnbrook Ave., Owings Mills. 

Beyonce vs Rihanna Dance Party: Round 2
The Ottobar event flier states it best: “Are you ‘Drunk In Love’ or ‘Drunk On Love’?!” At the Beyonce vs Rihanna Dance Party, that is precisely the question. And also, are you ready to duke it out—through dance, of course, to support your diva de jour. The dance party battle will light up with Beyonce tracks from DJ Mills and Rihanna tracks from Ottobar owner Craig Boarman. 9 p.m. Feb. 16 at the Ottobar, 2549 N. Howard St.

Miscellanea

African-American Arts Festival
The University of Baltimore helps us to celebrate Black History Month specifically through art at its annual African-American Arts Festival. Its offerings span an array of artistic mediums: film, visual art, music, theater. Some highlights: a panel with Black Ladies Brunch Crew of D.C., an African drumming circle, readings of Langston Hughes poetry spliced with live, improvised jazz piano, and a screening of Jonathan Demme’s film of Toni Morrison’s novel Beloved. Feb. 15 to 18 at the University of Baltimore, 1420 N. Charles St.

Exhibit of Original Costumes

We may be 2,500 miles from Hollywood, but John Klisavage brings us a touch of its wonder by way of costume. At his bookstore in Havre De Grace, he’s displaying several outfits worn in major motion pictures, including Hunger Games and The Notebook. February and March at Washington Street Books & Music, 131 N. Washington St., Havre De Grace.

A culinary documentary on Basque cuisine
Parkway Theater has teamed up with a local restaurant to bring a food and film pairing, naturally. After a screening of The Txoko Experience: The Secret Culinary Space of The Basques, scriptwriter Marcela Garces and director Yuri Morejon will answer any questions the audience has, and then . . . everyone can partake in the food portion of the evening: passed pintxos from the Basque-inspired La Cuchara restaurant. Renowned Basque chefs serve as narrators of the culinary documentary, which explores Txokos, groups of people who gather to explore innovative and experimental ways of cooking. As Morejon puts it, “Txokos represent a distinctive, albeit enigmatic element of Basque gastronomy. As the private temples of traditional Basque cuisine, they captivate people with their warmth, ambiance, and great respect for fresh products.” 7 p.m. Feb. 22 Parkway Theater, 5 W. North Ave.

Five things to eat, drink, see, hear, and do with your Charm City weekend.

 EAT

Nov. 18: OyFest IV

Union Craft Brewing, 1700 Union Ave. 12-5 p.m. $10-12. 410-467-0290.

This Saturday, indulge in the Chesapeake Bay’s great bivalve with seasonal shucks at Union Craft Brewing’s fourth annual OyFest. With The Local Oyster and True Chesapeake Oyster Company, enjoy brackish beauties served in a variety of ways—raw, grilled, chowdered—by Baltimore’s finest chefs, including Zack Mills of Wit & Wisdom, Bryan Voltaggio of Aggio, Lou Sumpter of Woodberry Kitchen, and Ben Lefenfeld of La Cuchara. And while champagne and a fine white wine might be the perfect pairing, we can attest to the complimentary nature of a Duckpin pale ale or brand-new Skipjack pilsner, and a hint of live music by garage-folk singer Skribe. If you’re feeling extra adventurous, join the oyster-eating contest slurp down 24 of them as fast as you can. Proceeds benefit the Chefs Cycle for Maryland No Kid Hungry.

 DRINK

Nov. 18: Charm City Meadworks Taproom Grand Opening

Charm City Meadworks, 400 E. Biddle St. 1-7 p.m. Free. 443-961-1072.

Almost a year ago, the crew at Charm City Meadworks put on their bee costumes (literally), tied their barrels to a truck, and moved to Mount Vernon from South Baltimore for a fresh start for their fermented honey drinks. This Saturday, CCM is welcoming patrons to their brand-new taproom, a 6,500-square-foot industrial space equipped with bright stools, shared tables, and more than 15 homebrewed meads. Celebrate the meadery’s new home with seasonal favorites like Retire by the Fire (with hints of vanilla, cocoa nibs, and clove), simple classics like Original Dry (crisp and oaky with a slight acidic finish), collaboration kegs, and guest taps, plus delicious Korean tacos by Dooby’s. 

 SEE

Nov. 18: The Maryland Film Festival’s Behind the Screens Fundraiser

Parkway Theatre, 5 W. North Ave. 6-11 p.m. $20-5000. 410-752-8083. 

Nothing is more perfect than watching Netflix on a chilly evening, but this Saturday, learn while you relax with a sneak peek of a new original series and listen to a talk on the influence of streaming services on filmmaking, all to benefit the Maryland Film Festival. At the newly renovated Parkway Theatre, participate in a discussion with independent filmmaker Joe Swanberg and cast members of the hit series Easy, an eclectic comedy about Chicagoans stumbling through the intersecting worlds of love, sex, technology, and culture. Discover how Netflix, Amazon, and Hulu have changed the game, with cocktails, hors d’oeuvres, and desserts to boot.

 HEAR

Nov. 17: Baltimore 4 Puerto Rico

Metro Gallery, 1700 N. Charles St. 6 p.m. $10-20. 410-244-0899. 

After hearing about Hurricane Maria’s trail of destruction in Puerto Rico, Baltimore locals, organizations, and industries have stepped up to help rebuild the island, including thousands of dollars donated and tens of thousands of supplies assembled for those in need. On Friday night, the city’s support continues with local bands jamming out with a benefit concert at Metro Gallery. Hear Baltimore’s rising artists play their hearts out for a good cause—from Soul Cannon’s experimental indie hip-hop, to electronic R&B duo Chiffon’s mesmerizing slow jams, to Super City’s guitar-driven pop-rock—and uplift Puerto Rico’s residents through the Hurricane Maria Community Recovery Fund.

 DO

Nov. 19: Trot the Trail 5K

Herring Run Park, 3800 Belair Rd. 8 a.m. $54. 

This Sunday, burn off some calories before you gorge on thick slices of turkey and heaping plates of pumpkin pie. Hosted by Charm City Run and Baltimore City Recreation and Parks as part of their annual $5 5K series, this race gives runners (and walkers) an opportunity to support the community through fitness and family fun for a cheap price (and all proceeds go towards city-wide park programming). Whether you’re an ace marathon racer or a novice jogger, wear your warmest gear and trot upwards of three miles the scenic Herring Run Trail. The weather might be nippy, but the scenic views of urban woodland and Lake Montebello’s beautiful reservoir should help you keep up the pace.  

You don’t have to be a hardcore movie buff or drama nerd to see that film and theater are related. We’ve all likely seen film adaptations of plays we loved, or perhaps we’ve been reminded of a favorite character or noticed a similar theme when thinking about stage or screen productions.

It’s in that spirit of connecting across genres that Everyman Theatre and the Maryland Film Festival are partnering to bring about a six-part screening series at the Stavros Niarchos Foundation Parkway. “Everyman at the Parkway” will bring influential films to the Parkway that relate to Everyman’s 2017/18 season.

“All arts audiences are passionate audiences, and we are delighted by this opportunity to merge two mediums, bringing film- and theatre-lovers together to celebrate and discuss the many ways of bringing great stories to life,” said Everyman’s founding artistic director Vincent Lancisi.

Whether artistically, structurally or thematically, each film/play coupling aims to inspire conversation about the material exhibited on stage and on screen. Every film will be introduced and accompanied by a post-screening audience discussion, hosted by the Everyman artist who selected the pairing.

First up on September 26 is David Cronenberg’s M. Butterfly, a 1993 film adaptation of the stage play that stars Academy Award-winner Jeremy Irons and written by David Henry Hwang, based on his Tony Award winning play of the same name. The pairing is inspired by Everyman Theatre’s fall production of M. Butterfly, directed by Lancisi (in performance Sept. 6-Oct. 8).

Upcoming screenings will also include Ava DuVernay’s 2012 feature Middle of Nowhere, presented by Everyman Resident Company actor Dawn Ursula as a companion to Everyman’s Intimate Apparel on October 24 and, on December 12, Benoît Jacquot’s 2012 French drama Farewell My Queen, hosted by set designer Daniel Ettinger, to pair with Everyman’s The Revolutionists.

“We are thrilled to partner with Everyman Theatre to continue to explore the translation of one medium to another—film,” said Jed Dietz, founding director of the Maryland Film Festival. “We’re building many community partnerships, and we have been big fans of Everyman’s work, so it’s especially exciting to be part of this Everyman season.” 

Five things to eat, drink, see, hear, and do with your Artscape weekend.

 EAT

Local Food!

Station North, Mt. Royal Ave. & Cathedral St. Fri.-Sat. 11 a.m-9 p.m., Sun. 11 a.m.-8 p.m.

America’s largest free festival—and the city’s staple summer event—is back and tastier than ever. With an entirely Maryland-made menu, dig into more than 30 food vendors, including local favorites like Dooby’s, Ekiben, The Local Oyster, and Connie’s Chicken & Waffles, plus more than a dozen food trucks from throughout the region dishing out crab cakes, fried chicken, and BBQ. This year, the festival will be placing extra emphasis on recycling with a ban on all Styrofoam materials. And be sure to swing by Prigel’s Family Creamery, for cold scoops and cones to keep the dog days at bay. 

 DRINK

Wet Cityscape

Wet City, 223 W. Chase St. 11-2 a.m. Free. 443-873-6699. 

Like always, Artscape is going to be an extra hot weekend. Stay hydrated with an emphasis on local beers throughout the festival, and at one of Mount Vernon’s best recent additions—the craft beer bar Wet City. Celebrate the bar’s one-year anniversary with taps upon taps of expert and experimental brews, including two special collaborations with Burley Oak and Goonda Beersmiths. Permit permitting, they’ll even have their own beer garden, set up outside in the high-summer heat. 

 SEE

Free Films!

Parkway Theatre, 5 W. North Ave. Fri. 6-9 p.m., Sat.-Sun. 12-6 p.m. Free.

If you haven’t had the chance to experience the Parkway yet, this weekend is your chance to explore the recently renovated historic theater. For local art lovers, cinephiles, or just those in need of some A.C., they’ll be featuring free films throughout the weekend with genres ranging from animation to comedy to documentary and drama. On Friday, catch a feature flick with the cult classic Wet Hot American Summer (which couldn’t be a more appropriate title, for this year’s camp theme and—did we mention it yet?—the weather’s extreme temps). On Saturday and Sunday, stop in for more than a dozen short films, screened with filmmaker Q&As throughout the day.

 HEAR

Concerts!

Locations vary, including Artscape Main Stage, Johns Hopkins University Station North Stage, and the Morgan State University Sound Off Live! Festival Stage. Fri.-Sat. 11 a.m.-9 p.m., Sun. 11 a.m.-8 p.m. Free.  

While we love the art cars of Charles, the avenue of local food, and the sidewalks strewn with street performers, Artscape wouldn’t be the same without its medley of musical acts. Across three stages, they’ll be showcasing an eclectic mix of internationals artists and local talents. At the Morgan State stage on Mount Royal Avenue near Lafayette, hear acts like neo-soul collective The Fruition Experience, hip-hop poet Wordsmith, and indie darlings Us & Us Only and Super City. At the Johns Hopkins stage on Charles Street near North Avenue, be sure to stop by and see local rapper Martina Lynch, teen virtuosos Legends of Et Cetera, skyrocketing rock band Wing Dam, and post-punk stars Natural Velvet. Biggest of all, nestled beside the rolling green hills beneath the light of the old train station’s clock tower, you’ll hear alt-hip-hop group J Pope and the HearNow, local soul singer Ama Chandra, blues experts The Ron Holloway Band, and headliners like R&B star Sheila E., gypsy punk-rockers Gogol Bordello, and soul-blues legends Robert Randolph and the Family Band.

 DO

After-Parties!

Locations, times & prices vary.

Artscape doesn’t end when the festival turns off the lights. For the entire weekend, after-parties will be popping up all across the city. During Artscape’s own After Hours, stay in the neighborhood for everything from street theater and local comedy to George Michael tribute on North Charles. There will be plenty of dance parties, too, including Save Your Soul at the nearby Mount Vernon Marketplace, with vintage soul and pop music on the ones and twos, and 4 Hours of Funk at the Windup Space, with literal hours of funkified jams, both on Friday night. On Saturday, swing by Pen & Quill for a performance by the Baltimore Beat Club, and live music at local venues, like Priests at the Ottobar and :3ION at The Crown.

Forty years ago, members of the local LGBTQ community gathered to establish the Gay Lesbian Community Center of Baltimore (GLCCB) in the basement of a building on Maryland Avenue in Station North.

The center is making it a priority to honor those roots this year, by moving the 42nd annual Baltimore Pride celebration—which returns June 17-18—from its iconic venue in Mt. Vernon to the Station North arts district.

“It’s a big circle back to where everything started for us,” says Mimi Demissew, current executive director of the GLCCB, which moved from Mt. Vernon to Lower Charles Village last year. “There is such a long, rich LGBTQ history represented in Baltimore that I don’t think many people realize.”

As in previous years, Pride weekend will kick off with a parade and block party on Saturday, followed by a festival with vendors and live entertainment in Druid Hill Park on Sunday.

Demissew says that organizers remained mindful of Pride’s ties to Mt. Vernon by designing a symbolic parade route—which will step off from Chase Street and descend into the center’s new home. Afterward, a block party will take place in a footprint similar to Artscape, from North Avenue to 23rd Street.

Though there are some locals who stand by the idea that Pride is meant to stay in Mt. Vernon (where it has been held for the majority of the past four decades), Station North community leaders are enthusiastic about the change of venue.

“There are a lot of people saying that the ‘gayborhood’ is shifting,” says Ian Parrish, a local developer who recently reopened The Baltimore Eagle on North Charles Street. “But I really think that the neighborhood is nothing without its people. It’s not that Mt. Vernon is losing anything, there’s just a lot of new energy and revitalization in Station North. It adds to the entire community as a whole, rather than detracting from it.”

Bolstering the community even more, the Maryland Film Festival (MFF), which recently unveiled the refurbished Parkway Theatre on North Avenue, is featuring a curated selection of LGBTQ films on all three screens June 16-22.

“We’ve essentially been in Station North all along,” says Eric Hatch, director of programming for MFF, which has partnered with the Charles Theatre and the Windup Space for many years. “It feels like home, and it’s a perfect fit for Pride.”

Films highlighting LGBTQ content will range from international works and shorts to revivals including Cheryl Dunye’s The Watermelon Woman and Sean Baker’s Tangerine.

“One of the most exciting things about any art form is encountering other perspectives and embracing diversity—and historically film has not done a good job of that,” Hatch says. “Film festivals have always been an opportunity to correct that, to portray more content that positively represents women, people of color, and certainly more from the LGBTQ perspective.”

Inclusivity is something that the GLCCB is stressing more than ever this year. The organization asked for community feedback to brainstorm the festival’s theme, and landed on “Pride: Unleashed.”

“We’re in the midst of this new reawakening,” Demissew explains. “The change in political climate has reinvigorated everyone across the country. We want to celebrate the community unabashedly—we’re not going to apologize for who we are and the rights we’re demanding.”

In keeping with the inclusive sentiment, the GLCCB will host specific programs for LGBTQ youth, seniors, transgender community members, and people of faith throughout Pride week.

Youth Pride will once again have its own designated area with food, activities, and live music at Saturday’s block party in Station North, and the center will introduce the inaugural Elder Pride in partnership with Chase Brexton Health at Sunday’s festival in Druid Hill Park.

Other highlights to look forward to include the annual High Heel Race on North Charles Street, and headliners including former Pussycat Doll Jessica Sutta, American Idol contestant (and Baltimore native) George Lovett, and New Orleans-based hip-hop star Big Freedia.  

The Baltimore Eagle, located in the epicenter of all of the festivities, has many activities planned for Pride, including art installations, drag shows, and special rainbow drink deals. 

Parrish, who faced drawn out struggles with the City Liquor Board to reopen the iconic gay club, is excited to officially celebrate the bar’s first Pride since debuting in Station North.

“Our fight for equal treatment by the city strengthened my belief that equality isn’t just an LGBT issue—it’s a cause every Baltimorean should take to heart,” he says. “We came out on top because we did it together, and that showed me that there’s no wrong in our hometown that a little pride can’t cure.”