The first museum building in the Western Hemisphere can be easily missed. Situated behind beautiful Zion Lutheran Church, which has maintained German-language services for more than 265 years, and in the shadow of historic City Hall, the exterior of The Peale is relatively modest.

The story inside the four-story, red-brick Federal Period townhouse is anything but.

The brainchild of painter and innovator Rembrandt Peale, acclaimed for his astonishing likenesses of contemporaries George Washington and Thomas Jefferson, The Museum and Gallery of Fine Arts opened a month before the British attack on Fort McHenry. Two years later, Peale fired up a gas-fueled chandelier in his repository of fine art and curiosities—recently discovered mastodon bones, for example—and convinced several local businessmen to launch the nation’s first gas company, aka BGE. Then Peale and friends talked city officials into making Baltimore the first city in the U.S. with streetlights.

More interested in European painting techniques and science of all sorts than paying his mortgage, Peale soon turned museum operations over to his brother Rubens. (Rembrandt Peale was preordained to be an artist like his father, Charles, as were his siblings, whose names included Rubens, Raphaelle, and Titian.) Rubens Peale brought in live animal acts to attract crowds, but ultimately the Peales closed their museum, selling the building to the burgeoning Baltimore, suddenly in need of a formal City Hall in 1830. The mayor and council finally outgrew the townhouse and moved down the street into our current City Hall in 1875, at which point change would become a constant for the Peale building.

Next, it served as host to Male and Female Colored School No. 1, the first designated “colored” high school in Maryland. Later, the Baltimore water department assumed control of the property. In 1916, the space became home to shops and light manufacturing.

This part sounds thoroughly modern: Along the way, the now-iconic building was twice condemned by officials, only to be saved by public outcry each time. Eventually, it was rehabilitated and rebranded the City Life Museum, but then that closed in the late 1990s because of budget cuts. Which brings us to today: Shuttered for much of the past quarter century, The Peale officially reopens (again) August 13—on the 208th anniversary of its original opening—following a $5.5-million capital campaign and top-to-bottom overhaul, an effort begun by the Friends of The Peale in 2008.

The mission of the new Peale centers on another evolution, as a community-driven museum, repurposing the historic building as a celebration of the unique history of Baltimore, its denizens—and fittingly, its one-of-a-kind buildings.

“We won’t do ‘top-down’ curated shows more than once a year,” says Nancy Proctor, The Peale’s chief strategy officer. “We operate quite differently from a traditional museum approach. Everything that happens in the building will be proposed by a community member. Exhibitions and performances are all grassroots-driven.”

Recent exhibitions include “THE AMAZING BLACK MAN,” a solo exhibition by local artist Kumasi J. Barnett, who painted over old Marvel and DC comic books, replacing past heroes with characters such as “The Amazing Black-Man.” In June, the museum hosted the Single Carrot Theater, which performed Marie Antoinette and the Magical Negroes, a high-fashion, time-jumping exploration of race and revolution in America, set against 16th-century Versailles and the French Revolution.

Board member Mortimer “Tim” Sellers, a descendant of Rembrandt Peale, believes in the museum’s new direction. Its 50-year lease with the city, similar to several other historic venues, is also a welcome development.

“The Peales thought of themselves as scientists, as well as artists, and they were in touch with all the cutting-edge and experimental things happening,” Sellers says. “When the idea of gas lighting became possible, they instantly tried to do it. But I’m not sure Rembrandt was a particularly good businessman. The family lost any connection to Baltimore Gas and Electric.

“That’s typical, though,” Sellers continues with a laugh. “I’m speaking of his family, but it’s my own family, too. We’re all creative and very involved in life and innovation, but we’re not particularly good at focusing on making any money out of it. I mean, I guess it’s more fun to discover things than it is to actually figure out how to monetize them. There’s a downside, which is to say to we remain poor.

“You asked what I do for a living? I’m a philosopher. I’m an academic at the University of Baltimore. So, there you have it.”

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EAT

July 24: Black Business Friday

Center Plaza. 110 W Fayette St. 5-8 p.m. Free.

Downtown Partnership of Baltimore is hosting this open air celebration of African American culture featuring live music, shopping, and lots of food. While browsing items from Bushelers of Baltimore and Pandora’s Box Boutique, enjoy catfish, bayou pasta, and Maryland crab cakes from Next Phaze cafe, as well as authentic Haitian cuisine from Cross Street Market’s Sobeachy. Registration for the event is required, and the first 100 guests will receive a free cocktail from the expert bartenders of Cane Collective.

DRINK

July 24: National Tequila Day at La Palapa

La Palapa Grill & Cantina. 8307 Main St., Ellicott City. 12-9 p.m.

Friday marks National Tequila Day, and La Palapa is standing by to make sure you celebrate accordingly. The Ellicott City cantina will be dishing out deals on their signature house and Cadillac margaritas, as well as offering 1800 Silver tequila shots for $7. While enjoying the boozy beverages, you can also chow down on special pork carnitas tacos topped with grilled pineapple, red onions, and cilantro. All of the specials are available for indoor and outdoor dining, pickup, and curbside carryout.

SEE

July 26: Not Just a Game Virtual Screening

3-4:15 p.m. Free.

Although most Baltimoreans tend to focus on our beloved Orioles and Ravens, many don’t know about ice hockey’s influence on Charm City youth. This weekend, the Peale Center is hosting the virtual premiere of the documentary, Not Just A Game: The Story of a Savage. The film tells the story of an East Baltimore hockey team, The Banners, and follows one player as he navigates his first season on and off the ice. After the viewing, producers with Just Stunt Productions will hold a panel to discuss the film with those that tune in. Make sure to RSVP on the Peale Center’s website to receive access to the screening the morning of the event.

HEAR

July 25: Live from the Patio: Riverside Shakedown

Diamondback Brewing. 1215 E Fort Ave. 5:30-8:30 p.m. Free.

On top of their seasonal brews and experimental ales, Diamondback Brewing Company is adding something new to their lineup—a socially distanced summer concert series. This Saturday, the Locust Point brewery will kick off the live patio performances with Riverside Shakedown, a Charm City cover band focused on indie-rock, smooth blues, and alternative music. Tables are first come, first served and outdoor seating is limited, so be sure to get there early to grab your spot.

DO

July 25: Open Works 2nd Annual Community Yard Sale

Open Works. 1400 Greenmount Ave. 9 a.m.-3 p.m. Free.

COVID-19 has given Baltimore’s prime makerspace some time to do some deep cleaning and purging, and this weekend, Open Works will be selling its gently-used goods at a community yard sale in its parking lot so visitors can get their shopping done safely. All of the products available for purchase are already posted online, so head to their Facebook page to check out which finds you’ve got to have.

Baltimore has a long musical legacy, from the legendary jazz clubs of Pennsylvania Avenue that featured the likes of Billie Holliday, Louis Armstrong, and John Coltrane, through the modern DIY scene that has incited national acclaim. But along the way, one of the city’s most vital music scenes—Baltimore Club—has largely gone undocumented, even as the energetic dance genre has come to define the grit, wit, and brilliance of its namesake city.

Decades Night Club finally brings that history into the spotlight. The exhibition, roundtable, and concert series, currently on display at The Peale Center in downtown Baltimore, highlights the city’s homegrown genre and the black-owned clubs that led to its golden era from the 1980s to the early 2000s. Curated by Mia Loving, founder and organizer of creative incubator Invisible Majority, Decades captures the scene’s spirit and energy through archival photographs, interviews with renowned DJs and regular clubgoers, and installations that celebrate former venues like the Paradox and Odell’s Nightclub. In doing so, it documents the impact this local sound had on contemporary music, in Baltimore and beyond.

We sat down with Loving to discuss the impetus for this exhibit, on view through August 11, and the importance of Baltimore Club.

Describe what Baltimore Club music is and how it has come to define Baltimore.

Doing this project made me realize how special Baltimore’s location actually is, and how its proximity to the Northeast, South, and Midwest has created a unique sound that [still] resonates. It’s literally birthed out of Chicago house, Miami bass, and hip-hop. It’s important to note that this meshing happened not from people listening to records or tapes, but traveling to clubs [to hear] touring artists. During this time, black artists weren’t being supported by the industry, they were creating their own lanes and building audiences through the clubs. My father [Baltimore Club DJ George Jones] has stories of bringing in rap acts like Salt-N-Pepa and Uncle Luke just as they were starting to pop.

What Baltimore Club songs and artists did you grow up listening to?

As an ’80s baby and ’90s kid, Baltimore Club music really took over—and that’s all that was everywhere. I was kind of snooty so I wasn’t really into it and didn’t go to clubs. After I moved away, I found a great appreciation for it. Growing up, you didn’t know who actually made the songs, but the radio DJs were the biggest celebrities to us. Frank Ski, Konan, Marc Clarke, Miss Tony, Reggie Reg, and later K-Swift were huge. My favorite songs were probably “Feel Me,” “Dance My Pain Away,” “Hey You Knuckleheads,” Miss Tony’s “How You Wanna Carry It.” High-school [era] Blaqstarr really took over with “Hands Up Thumbs Down,” “Get My Gun,” “Tote It,” “Supastarr,” “Feel It In The Air,” but most people thought those songs were by K-Swift.

How has gentrification effected black Baltimore clubs?

Gentrification has really killed black clubs. Particularly in Station North. Now most of the popular black clubs are in Baltimore County. The Chesapeake Shakespeare Company used to be a popular spot for black nightlife. Black clubs have often been the first attacked when a neighborhood is seeking to shift demographics.

Why is it important to archive the black Baltimore club scene?

We don’t celebrate this history at all. We look at the jazz clubs in Baltimore, and we honor that legacy. I think drugs, crime, and Reaganomics overshadowed the beauty of the [1980s to the 2000s]. [Artist] Sheila Gaskins pointed out that when we started to make segregation illegal, “black stuff” started to [be publicized as negative]. It’s important to me to not let the negativity overshadow the creativity—the business-savviness and innovation of black people in Baltimore. Also, from my ongoing [research], I see how, especially in the ’80s, we had more diversity in clubs. Some were just playing jazz, some just R&B, or hip-hop, and others club and house. That just doesn’t seem to exist now.

EAT

Feb. 8-17: Maryland Vegan Restaurant Week

Locations, times, and prices vary.

Whether you’re a lifelong plant-eater or started veganism last week to score free Beyoncé and Jay-Z concert tickets (we get it), Baltimore’s annual winter celebration of all things herbivore has got you covered. Spend the weekend eating your way through meat- and dairy-free options at local vegan standbys like Golden West Café, Land of Kush, and Red Emma’s Bookstore & Coffeehouse, as well as participating restaurants like Wicked Sisters and Paulie Gee’s in Hampden and Café Fili and The Grub Factory in Mt. Vernon.

DRINK

Feb. 8: Will’s Back!

Monument City Brewing Company, 1 N. Haven St. 5-10 p.m. Free.

One of the most shared local stories of the week was the citywide search for Monument City Brewing Company’s adopted cat, Willow. Thanks to the Highlandtown brewery’s viral Facebook post and calls to action by local media outlets, Willow (or Will to regulars) was returned on Wednesday by brewery patrons who mistook him for a stray. To celebrate the return of the brewery’s mouse-catcher, Monument City is throwing a party in his honor, featuring the final release of its seasonal IPA and eats from Taco Bar food truck. Bring a cat-related donation on Friday to support BARCS Animal Shelter and raise a glass to the greatest pet saga since Homeward Bound.

SEE

Feb. 8: Devin Allen: Spaces of the Un-Entitled

The Peale Center, 225 N. Holliday St. $20.

Although this West Baltimore photographer has gained national acclaim since his iconic shot of the 2015 Uprising graced the cover of Time magazine, it’s clear that Devin Allen’s heart and inspiration still lies in Baltimore. For the next six weeks, Allen’s latest project and first-ever color show, Spaces of the Un-Entitled, will be on display at The Peale Center, showcasing the young photographer’s analysis of architecture and its impact on impoverished communities. On Friday, experience a live performance by Allen himself as he speaks to the ghosts who were left behind in the gentrification of areas shown in his must-see series.

HEAR

Feb. 8: Jim Gaffigan

The Modell Lyric, 140 W. Mt. Royal Ave. 7 & 9:30 p.m. $35.25-55.25.

Whether it’s in his scene-stealing TV roles, his bestselling books, or his four Grammy-nominated comedy albums, Jim Gaffigan always manages to earn a laugh. The family-friendly comic, who is known for finding humor in the mundane—like doctor visits, food, and fatherhood—will take over the Modell Lyric on Friday for two back-to-back shows that are sure to deliver side-splitting laughs.

DO

Feb. 10: Lunar New Year Celebration

The Walters Art Museum, 600 N. Charles St. 11 a.m.-4 p.m. Free.

Across Asian cultures, the lunar new year marks the beginning of a new calendar year. To ring in the Year of the Pig, the Walters Art Museum is throwing a free, family-oriented celebration in their sprawling Mt. Vernon complex. Visitors of all ages can explore the museum’s expansive and much-lauded Arts of Asia exhibition, followed by a chance to create their own Asian-inspired works. Make sure to catch the traditional lion dance performance, which is believed to bring good luck in the new year.

Since its debut in 2009, the Baltimore Rock Opera Society (BROS) has become known for its fantastical performances that often incorporate elements of sci-fi, action, gore, and horror. So it might come as a surprise that the troupe has never put on an actual Halloween show.

“It feels like it’s been a long time coming,” says BROS artistic director Aran Keating. “There’s always been a close affiliation with BROS and Halloween. The art around Halloween just matches so well with the core of what we try to put on stage.”

It wasn’t until one of the BROS recent “pitch parties”—in which the company invites the community to submit their original rock opera ideas—that the group was inspired to explore the possibility of producing a show tied to the spooky holiday.

“This is our take on Halloween attractions,” Keating says. “It’s not a haunted house, it’s not a magic show, and it’s not a theatrical show. It’s some sort of combination of all those things. You come in and you’ll have a seated experience in this sort of creepy, old museum.”

The Peale Center for Baltimore History and Architecture downtown will be the venue for Lurid Happenings: A Night of Mischief and Devilry, which runs October 26-28 with a special performance on Halloween night. Each evening will feature an early performance at 7:30 p.m., followed by a later show at 9:45 p.m.

The story follows The Amazing Allerdyce, played by local actor Rex Anderson, and his peculiar assistant Sinifredo, played by magician Lucas Gerace, who have recently returned from a globe-trotting exploration of the dark arts. Incorporating magic and audience participation, the show promises to “test your fears, and perhaps even provide a little guidance from the spirits just beyond your vision.”

“It’s about the depths of human desire,” Keating explains, being careful not to reveal too many details. “Where does following those desires lead you? And what types of unsavory turns might you take? It explores the ways it can all go wrong when people band together and human nature takes over.”

Though the summer’s Incredibly Dead was billed as the BROS’ final performance of 2018 and they normally just host a Halloween party, Lurid Happenings felt like a nice way to expand on those festivities.

“We all wanted to do something more than just throw a party,” Keating says. “We’ve experimented with little scripted narrative performances that happen at those parties, but it never gives us full access to an audience’s attention. We really want to take you through something that grips you.”

Of course, it wouldn’t be a BROS Halloween event without dancing and drinks. Each evening will feature a party in The Peale Center’s top-floor gallery space where attendees can sip cocktails and enjoy interactive entertainment while jamming to live music from local rockers Quattracenta October 26-27, Voodoo Pharmacology on October 28, and HexGirlfriends on October 31. The reception is set to begin after the first performance of the evening, and it will be open to audiences of both shows.

While Keating is looking forward to closing out the year with Lurid Happenings, he is also excited for what’s to come in 2019. Aside from planning new productions (he teases an interactive, choose-your-own-adventure rock opera as a possibility for next year), the company is preparing for a big move.

Thanks to a crowdfunding campaign that raised more than $75,000 after the society was forced out of its former headquarters inside the Bell Foundry building in 2016, the troupe is finally closing in on a new permanent home.

“There is really good news on the horizon,” Keating says. “We don’t have all the dots together yet, but we’re very much in the process of this big transformative moment where we can really put down roots.”