Monday, March 13, 2017

This Year's Model: Genie Vincent Remembered

Charm City Cover Girl Eugenie Vincent (photo courtesy Mike Milstein)

A friend messaged me today via social media, asking if I recalled a record album that featured erstwhile Baltimorean and fashion model "Genie" Vincent (not to be confused with the crippled rockabilly legend, Gene "Don't Call Me Genie" Vincent), whom we knew from hanging out at Towson State University in the early 1980s. 

I didn't remember much about "Genie" (birth name Eugenie Vincent) other than she was extremely tall (5 foot 11?) and slender (hence the modeling career) and that my ex-wife and college bandmate Katie Glancy knew her from TSU. (Katie's convinced she appeared on some Steve Winwood record that I had, but I haven't been able to solve that mystery.) I only recall seeing Genie at Oddfellows Hall music shows, having graduated from TSU in 1980, though she was friends with a number of TSU undergrads like Leslie "Leigh" MillerMike Milstein (another college bandmate), Mindi Siegel and Marty Benson

Others knew her from her days at Baltimore's former hippie enclave, Baltimore Experimental High School (504 Cathedral Street, down the street from the First Unitarian Church). As Rafael Alvarez once described it in a 2013 City Paper profile, BEHS was known for turning out "some of the most creative, some of the most successful, and some of the most dysfunctional high school graduates in Baltimore." 

Genie was certainly one of the more successful grads and went on to work with a number of creative talents. She ended up crossing the pond to model in Europe, where Malcolm McLaren must have discovered her because the album she appeared on was none other than the former Sex Pistols manager and Sex boutique co-owner's 1984 opera-meets-R&B mashup, Fans. (Thanks go to the recollections of tattoo artist, music promoter and Waverly Brewing Company co-owner Bill Stevenson for remembering Genie's appearance on this record!)

Front cover of Malcolm McLaren's "Fans" LP (Charisma, 1984)

Genie Vincent (left) appeared on the back cover of  McLaren's "Fans" LP

According to her Internet Movie Database (IMDb) filmography, Genie later appeared in Mary Harron's 1996 film I Shot Andy Warhol, though local fanboy Robert J. ("Beefalo Bob") Friedman adds, "But if you blink, you'll miss her." She plays one of Warhol's Superstars and, though her role was fleeting, Bob insists, "She'll always be a superstar to me!"

"I Shot Andy Warhol" (1996)

Her IMDb credits also include the 1996-1997 television series The Anti-Gravity Room, 1998's Anarchy TV (which, in addition to Genie, featured another Baltimore actress, Mink Stole), and Zoltan (great name!) Alexander's 1993 film short, Skinned.

"Anarchy TV" (1998)

Genie also apparently collaborated a number of times with legendary former Baltimore artist-provocateur tENTATIVELY a cONVENIENCE and his Neoist cronies. (tENT briefly taught a "No No Umbrella Class" at Experimental High in the fall of 1981; perhaps that's where they met.)

The No No Umbrella Class outside Acme Food Market

In October 1981, Genie worked with tENT on two "events" at the Toronto Public Works Festival. First, there was the "Seatbelt Violation Public Works Promotion," which tENT described in "Mere Outline 1981" thusly:

Eugenie Vincent & I were tied to the roof of a rented car to attract attention to us while we drove around the city with signs advertising the festival we were to participate in & "HOMEX" - the magazine that 1 of the drivers, Ricki Kilreagan (the other driver being Sin-Dee Heidel), was editor of. After 20 minutes or so, we were stopped by a cop, who was eventually joined by 2 others. The cops tried to figure out what they could charge us with & eventually decided on "seatbelt violation" - much to the general amusement.

Seat Belt Violation event, Toronto Public Works Festival

This was followed by a "Neiost Night" performance at Toronto's YYZ Gallery. As tENT describes it: 

As an impromptu contribution to the "Neoist" night at the Gallery, Eugenie Vincent stripped, with her face wrapped with toilet paper (so that no photographs could be used to incriminate her in case she were to run for political office later), & lay on the floor. Unwanted left-overs from a very authentic Chinese meal we'd had earlier (cow's lung or some such) was spread out on her chest & abdomen. The audience was told that whoever ate the most food off of Genie without using their hands would win a free Chinese dinner. Of course, we knew that it was unlikely that anyone would want to eat any more chinese food after undergoing this experience but we figured that at least a few people in the audience would want to eat this slop off of the naked girl. I, most likely, conceived of all this & acted as judge. Ricki Kilreagan attempted to play some sort of kitsch tv music. Sin-Dee Heidel probably assisted in some way or another. 2 or more guys from the audience tried to eat the food off of Eugenie. I think everybody but 1 guy dropped out repulsed by the food. The remaining one who would've won pulled out a pocket knife in a frenzy of sexual aggressiveness & started scooping up the food with it. He was disqualified as a result & no-one won. To top it off, a sleazy Yugoslavian Photographer chased Genie around, still naked with toilet paper wrapped around her face, photographing in an "artistic" frenzy. This same photographer documented Skin Transfer (#51) - telling us "I believe in you" but refusing to give us copies of the photos. Hhmmm..

Neoist Night antics, Toronto Public Works Festival

Genie's Chinese food leftovers modeling performance reminded me of my old band Thee Katatonix's first-ever show at Towson's Oddfellows Hall back on April 27, 1979. For our debut, frontman Adolf Kowalski convinced some young woman to lay prostate on the stage, covered with a garbage bag, while he showered her with the remnants of a dissected stuffed teddy bear doll (his version of a punk pinata?) and spat beer on her. I think the trade-off was she got in free and got some beers (besides the ones spat on her). Who knew then that Adolf's abusive antics were actually high-concept "performance art" that would have impressed Neoists in Toronto galleries?

Bag Lady suffers for art's sake at Thee Katatonix's debut gig, Oddfellows Hall, April 27, 1979

Adolf spays a stuffed animal

The audience was floored. Literally.

"Don't get up on my account"

But I digress...OK, back to Genie.

I think Genie also appeared in issue 2 of a art zine affiliated with British Neoist Stewart Home called SMILE. SMILE would later inspire tENTATIVELY a cONVENIENCE's film Transparent SMILE, which is part of the Enoch Pratt Free Library's 16mm film collection.


We Dream of Genie

A number of people in the Marble Bar Facebook group remember her a lot better than me, and everyone agrees that she was a sweet soul, someone really worth knowing. Or, as Bob Richardson posted on The Marble Bar Facebook group page, "I remember her. How could one forget?"

More Genie Vincent recollections follow:

Robert J. ("Beefalo Bob") Friedman recalled: "I was extremely fond of her. A down to earth person for such a glamor-puss."

Marty Benson: "I remember her from before she went to Italy. She was a very sweet Experimental High School girl, or she hung out with that crew. Very friendly and down to earth."

Leslie Fuquinay Miller: "She and I were best friends for a year or so. We hung out in DC almost every night and slept on the second floor of the Union every morning. We used to get dressed up and eat at Au Pied De Cochon in DC. We saw The Circle Jerks and lots of other punk bands together. She was always such a sweetheart. I remember that she had to sneak into her going-out clothes at her mom's apartment or house. It's fuzzy. Lotta years gone by."

Mindi Siegel: "She taught me how to do the 'Huntington Beach' on the second floor of the [TSU] Student Union."

Amy Linthicum first met Genie when Leslie Miller brought her to a party at the Glen Burnie house where Null Set's Mark Harp and Lou Frisino lived with Marble Bar doorman Ron DeNunzio"I remember her wearing an earring made out of a bent fork, and a furry coat in an unnatural color." 

Lou Frisino: "Yes, she was at one of the wild parties there on Cody Drive. Genie kissed the wall in my foyer. That lipstick was on there for many years, lol!"

Alex Layne: "I remember a party out at her parents house in Timonium or someplace.. the Bludgeons played.. D.M. on drums.. I always thought she was hot, but she was a bit older, out of my league."

Robyn Webb recalled another Genie performance similar to the her Toronto Public Works Festival collaboration with tENTATIVELY a cONVENIENCE: "I remember when she and someone did some kind of performance at the 8x10...might have actually been part of a [Larry] Vega show...they were scantily clad, in just the most minimal lingerie, and Dickie [Gamerman] flipped out, in fear of his liquor license, as they were nearing titty bar territory in their gyrations and ministrations...I think Keith Wortz was there...or under a ladder, while Genie and someone (Jenny Beetz maybe?) did her thing while Keith read poetry..."

A "Larry Vega Show" at the 8x10 Club

Dave Sarfaty was at that 8x10 Larry Vega Show and added, "I think Dickie was more 'flipped out' that Keith was on stage than pretty girls in their underwear!"

Keith Wortz

Tom DiVenti suggested that 8x10 owner Dickie Gammerman was also "freaked because he thought they were underage."


Rumor has it that Genie moved back to Baltimore after living abroad and in Mendocino, California for many years. Those in the know, know. But if she hasn't made contact with her other former Baltimore friends in the social media age, then it's probably for a reason. Perhaps, like Garbo, she wishes to be alone. Maybe the former cover girl wishes to remain undercover. Respect. This has been merely a look back at a local gal made good.


S'more Pictures of Genie:

Cassandra (Julie von Rintein) and Genie Vincent (photo from Robert Friedman)

Genie Vincent models a feathery coat that Bjork would love

Genie Vincent glamour shot

Genie photo (courtesy Robert J. Friedman)

Genie, Martini & Rossi (photo courtesy Robert J. Friedman)

Genie black and blue (photo courtesy Robert J. Friedman)

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Thursday, March 09, 2017

China Girls On Film

Who Are the Mystery Girls?: Celebrating Countdown Reel Girls

Countdown to Ecstasy: China Girl on film leader

One of the thrills of being an audio-visual librarian at Enoch Pratt Free Library is working with 16mm films and spotting the occasional "China Girl" (or "LAD Lady," short for the "Laboratory Aim Density" industry standard created by Kodak's John P. Pytlak) on film countdown leaders. How these women got the sobriquet "China Girls" remains unknown; it's particularly unusual since most of the female subjects were white, not Asian. ("China Girls" might be a reference to the colorful flower print blouses Chinese girls wore at the turn of the 20th century, or to the "Shanghai Girls" advertising cards that came with Chinese cigarettes.) Needless to say, the term has nothing to do with the David Bowie (or Iggy Pop) song "China Girl."

Have your highlights lost their sparkle?And the midtones lost their scale?Are your shadows going smokey?And the colors turning stale?Have you lost a little business to labs whose pictures shine?Because to do it right – takes a lot of time.Well, here’s  a brand new system. It’s simple as can be!Its name is LAD – an acronym for Laboratory Aim Density.– John P. Pytlak

A recent article by Sarah Laskow ("The Forgotten 'China Girls' Hidden At the Beginning of Old Films," January 17, 2017) for the wonderful Atlas Obscura blog profiled these hidden faces that were never meant to be public and renewed my long-standing fascination with them. As Laskow writes:

Few people ever saw the images of China girls, although for decades they were ubiquitous in movie theaters. At the beginning of a reel of film, there would be a few frames of a woman's head. She might be dressed up; she might be scowling at the camera. She might blink or move her head. 
But if audiences saw her, it was only because there had been a mistake. These frames weren't meant for public consumption. The China girl was there to assist the lab technicians processing the film. Even though the same person's face might show up in reel after reel of film, her image would remain unknown to everyone except the technicians and projectionists. 
For many years photo labs would produce unique China girl images; around a couple hundred women, perhaps more, had their images hidden at the beginning of films. As movies have transitioned from analog to digital, though, China girls are disappearing.

Who are the Mystery Girls?

But not in Rockville, Maryland, where Colorlab is not only one of the last full-service film labs operating in the country, but has also revived the practice of making in-house China girls because there's no standardized "LAD lady" for the newest version of Kodak film.

And now there's renewed interest in these mystery women thanks to Rebecca Lyon and the Chicago Film Society's Leader Ladies Project, which has collected and posted around 200 China girl images (including  rare ones showing men, mannequins and even people of color). Below is a picture from the Leader Ladies Project collection that actually shows an Asian woman in the film leader for Nagisa Oshima's 1968 film Death By Hanging. (Since it's a Japanese film, she's probably not literally a "China girl," but close enough!)

"Death By Hanging"'s Leader Lady

Then there's the 2008 short film by Julie Buck and Karin Segal called Girls On Film that reflects on the anonymity of the test subjects by using an old "making it in Hollywood" movie soundtrack.

Buck and Segal described their film as follows:
Girls on Film is about 70 unknown movie stars. Despite appearing in countless films, they were never actually meant to be seen by the movie-going public. In fact, these women are so enigmatic that in most cases we do not even know their names. This film is a tribute to these forgotten women.

Officially known as color-timing control strips, these anonymous female film studio workers were affectionately dubbed "china girls" by the industry. The images in this show were meant only for use by the processing lab to match color tones in the associated film. 

Initially heavily scratched and faded, each images has been enlarged, restored and edited until these unknown and formerly unseen women resemble publicity snapshots of well-known film stars.

Jean Bourbonnais, a former projectionist at the National Film Board of Canada, compiled the heads and tails of numerous 35mm international films into a 16-minute-plus montage called China Girls. Bourbonnais addressed the mystery of these unknown leader ladies with a decidedly feminist slant, calling them "the voiceless workers of a proto-sex industry, entertaining mostly male lab technicians over the course of the working hours, similar to the pin-ups or sexy girl calendars found in most car repair shops or other blue collar male-dominated fields of work, China Girls are there to brighten up a gloomy day."

Hmm...I never thought of China Girls as the equivalent of a Snap-on Tools calendar hung in a film lab technician's workshop, but Bourbonnais makes an interesting point.

A China Girl answers the Hot Line: "A call for President Trump? Please hold, Mr. Putin!"

Speaking of Girls On Film...Years ago, I discovered China Girls thanks to John Heyn (of Heavy Metal Parking Lot fame). John also directed a short film called Girls On Film that celebrated these unknown women who appeared at the beginning of film reels and were used by lab technicians for color quality control. And it still holds a special place in my heart, no doubt because John used an obscure pop song by the Passions ("I'm in Love With a German Film Star") as his accompanying soundtrack.

Here's John Heyn's description of his film:

GIRLS ON FILM is an experimental film that captures the fleeting images from countdown leaders of old film prints. The "china girls" who appeared in these unseen film frames were posing for far less than aesthetic purposes and more for technical reasons. Their fleshtones and accompanying color-charts helped the film lab technicians calibrate the color-rendition of the film stock. The soundtrack is the 1981 new wave hit "I'm In Love with a German Film Star" by The Passions.

I recently discovered another China Girls montage set to an obscure pop soundtrack. Called "Lili On the Web" - in France, China Girls are called "Lili," perhaps after the traditional name for film slates used in Technicolor shoots -  it uses April March's song "Chick Habit" (itself an English cover of the Serge Gainsbourg composition "Laisse Tomber les Filles" - or, "Leave the Girls Alone" - which was originally sung by in 1964 by France Gall) as a musical backdrop. "Chick Habit" was also used in the film soundtracks of But I'm a Cheerleader and Quentin Tarantino's Death Proof.

lili on the web from BkTs on Vimeo.

And on that note, I bid thee farewell with this knowing wink (or is it a blink?) from a vintage China Girl:

Related Links:
Leader Ladies Project (Chicago Film Society web site)
Leader Lady Project (Facebook page)
The Forgotten "China Girls" Hidden At the Beginning of Old Film Reels (Sarah Laskow, Atlas Obscura)
Countdown To Ecstasy: China Girls (Accelerated Decrepitude)
China Girls, Redux (Accelerated Decrepitude)
16mm Leader China Girls (Brian Durham, YouTube)
China Girl (Jean Bourbonnais, YouTube)
Lili On the Web (Vimeo)

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Monday, November 14, 2016

"New Sounds for Silent Films" screening at Walters Art Gallery

New Sounds For Silent Films
Music by Jamal Moore, Ami Dang, and WUME
November 10, 2016 @ Walters Art Museum

The Walters Art Gallery, in partnership with the Maryland Film Festival, presented three short films from the Enoch Pratt Free Library's 16mm film archives as part of its "New Sounds for Silent Films" live music program. In conjunction with the museum's special exhibition "A Feast for the Senses," musicians Jamal Moore, Ami Dang, and WUME created and performed new scores for the three "silent" films (actually, though mostly lacking spoken word, they all originally featured musical soundtracks or sound effects). Regardless, the event organizers couldn't have picked three better "trippy" films to stimulate the senses. Films included: Moon 1969, Asparagus, and Time Piece. The screening was free for Walters Art Gallery and and Maryland Film Festival members.

About the films:

Moon 1969
(Directed by Scott Bartlett, USA, 1969, 15 minutes, color, 16mm)

This is the film Scott Bartlett made with Michael Hollingshead, the guy who turned Timothy Leary (among others) on to acid with his infamous mayonnaise jar filled with 5,000 hits of pure Sandoz LSD. In it, blurred television tapes of the Apollo 11 moon trip, alternating explosions of blank and color film, music, the voice of an astrologer discussing "all-ness," love, and the stars, and abstract film patterns combine to create what the director describes as a "cosmic mind flight" and "a space-age sermon celebrating the joys of metaphysical love."

Images from Moon 69

In his study of 1960s American experimental cinema The Exploding Eye, Wheeler Winston Dixon wrote "[Scott Bartlett's films] exemplified San Francisco's preferred form of cinematic discourse for a later generation of artists, poets, writers and videomakers...The visual structures of Bartlett's films influenced the images we see on MTV today, as well as the digital special effects employed in many contemporary feature films."

According to Paul Brawley of the American Library Association, "The interrelated convolutions and spasms of image, color, and sound that filmmaker Bartlett creates is the cumulative effect of his pioneer work using negative images, polarization, television techniques, computer-film, and electronic patterns all compressed into a visual punch that directs one where he normally would not go with a film - on a trip in search of the human soul."

Gene Youngblood of the Los Angeles Times adds, "Moon 1969 is a beautiful, eerie, haunting film, all the more wonderful for the fact we do not once see the moon: only the manifestation of its powers here on earth, the ebb and flow of the waters.. fiery rainbows into a cloudy sky... men and rockets transformed into shattering crystals... creating a picture if the cosmos in continual transformation."

During his life, Bartlett was sponsored by such filmmakers as Francis Ford Coppola. Yet today, despite their undiminished impact and undeniable influence, Bartlett's films are seldom shown. Pratt also owns Scott Bartlett's OffOn (1968), The Serpent (1971), and Medina (1972). Barlett's films are also available through Canyon Cinema. (Scott Bartlett, USA, 1969, 15 minutes, color, 16mm)

Check this title in the Enoch Pratt catalog.

(Directed by Suzan Pitt, USA, 1979, 19 minutes, color, 16mm)

Suzan Pitt - Asparagus (1978).avi from anastasios on Vimeo.

This "candy colored animated nightmare" rocked audiences upon its release - it ran theatrically with David Lynch's Eraserhead on the Midnight Movie Circuit - and catapulted Suzan Pitt to the front ranks of indie animation. From its opening scene of a woman defecating an asparagus spear into her toilet bowl to the concluding set piece (also very Lynchian and reminiscent of the theater scene in Muholland Drive) in which the artist opens her Medusa's box to release rare wonders before a claymation audience, stunning cel animation propels its blank-faced protagonist into a world of Freudian symbolism and Jungian archetypes. Winner of the grand prize at the Oberhausen Short Film Festival.

Freudian symbolism in Asparagus

Suzan Pitt later worked on some Peter Gabriel music videos. On February 15, 2008, she made a Baltimore "Pitt" stop to present a special screening of Asparagus (on 35mm!) and other works at the Maryland Institute, College of Art.

Tom Warner with Suzan Pitt at MICA, February 2008

Suzan Pitt Web site:

Check this title in the Enoch Pratt catalog.

Time Piece
(Directed by Jim Henson, 1964, USA, color, 9 minutes, 16mm)

Time Piece is a 1965 experimental short film directed, written, produced by and starring Jim Henson (credited as "The Man"). The film depicts an ordinary man moving in constant motion, in a desperate attempt to escape the passage of time. It is noteworthy for being a non-puppet, live-action Jim Henson production.

Watch a short clip from Jim Henson's Time Piece.

Time Piece received several film festival awards, including the Blue Ribbon Award from the American Film festival in 1967, and was nominated for an Academy Award in the "Best Short Subject, Live Action Subjects" category in 1966. In 2008, it became available at the iTunes store.

According to Muppet Wiki:
Henson began the project in the spring of 1964 (initially titling it Time to Go) and continued to work on it for nearly a year, between commercial projects and various Muppet television appearances. The short film premiered on May 6, 1965 at the Museum of Modern Art and was distributed through Pathe Contemporary films to arthouse theaters and the film festival circuit. It played in New York City along with the French feature A Man and a Woman
The surrealist film, which runs slightly less than 9 minutes, follows a nameless man who lies in a hospital bed awaiting examination by a doctor through a wide range of experiences. Mundane daily activities are intercut with surreal fantasy and pop-culture references. The relentless passage of time is a recurring motif, both visually, through various clocks, and aurally, through a rhythmic percussion soundtrack which "ticks away" throughout. Key set pieces include an examination of workplace drudgery, a prolonged dinner sequence (intended as a spoof of a scene from the film Tom Jones), and a nightclub visit satirizing the striptease (including a dancing roast chicken and a marionette skeleton). The man also rides a pogo stick, shoots the Mona Lisa, escapes from prison, and gradually applies a coat of pink paint to a living elephant. He assumes different costumes and identities throughout, from Tarzan to a cowboy, and repeatedly utters the only dialogue in the film, a plaintive cry of "Help!" from increasingly incongruous and perilous positions. 
Apart from the rapid montage cutting and superimposition of objects, Jim Henson used animation heavily to create an impressionistic feel. He personally animated scenes of moving patterns, anticipating those later utilized in various Sesame Street inserts. Don Sahlin supervised the use of pixilation and reverse motion to further "stylize" the movements.

A number of Henson Associates employees appear in the film: Frank Oz (as a messenger and in a gorilla suit), Jerry Juhl, Don Sahlin, and Diana Birkenfield. The rest of the cast and crew were made up of New York "bohemian artists" including portrait artist Enid Cafritz (as "The Man"'s wife)...

Enid Cafritz as Jim Henson's wife in "Time Piece"

...burlesque stripper April March (not to be confused with the musician "April March," real name of Elinor Blake, recording under that name)...

April March, "First Lady of Burlesque"

April March in "Time Piece"

...Broadway dancer Barbara Richman, and drummer Dave Bailey.

Check this title in the Enoch Pratt catalog.

Related Links:
"Pitt Stop: Animator Suzan Pitt Visits MICA" (Accelerated Decrepitude, February 15, 2008)
"Time Piece" (Muppet Wiki)

Monday, November 07, 2016

I Belong to the Blank Generation: WKHS' Martin Q. Blank

WKHS 90.5 FM: "The only High School station in Maryland on the FM Dial"

Like Johns Hopkins University's little 10-watt WJHU (88.1 FM) in the late '70s and early 1980s (and WCVT in its pre-WTMD heyday), WKHS embodies the spirit and diverse programming of "indie format" college radio. But unlike WJHU or WCVT, WKHS broadcasts from a high school - Kent County High School in Worton, MD - and beams its signal out at over 17,000 watts, meaning its programs can be picked up all over the Eastern Shore, a 60-mile radius of coverage that extends to Dover, Newark, and parts of Pennsylvania. Yes, even across the Bay to Annapolis and Baltimore. That's how my wife Amy and I started listening to, and becoming smitten with, 90.5 on the FM dial.

To be specific, we love the community volunteer programming at WKHS. By day, the station is run and staffed by Kent County High School students whose on-air skills are, well, high-schoolish, and whose musical tastes reflect generic contemporary commercial music (i.e., tuneless auto-tuned hip-hop, mall-friendly "indie" rock, mindless metal, dancepop divas-of-the-moment, and the like); in other words, it's pretty bad - although I swear one morning I tuned in and heard some teen-with-a-clue playing 10cc's "Wall Street Shuffle," so there's hope for the future!

"Talk Hard!" with Happy Harry Hard-on

But other than that one exception, you won't find any teen DJs as clued in as Christian Slater's rebellious pirate radio jock "Happy Harry Hard-on" in the 1990 movie Pump Up the Volume. Or even as hip as Johnny Slash on Square Pegs. (When the students and community members aren't there - summers, weekends, late nights - WKHS simulcasts WXPN radio from the University of Pennsylvania in Philadelphia. This arrangement helps to support WKHS from both a financial and a programming standpoint.)

"Calling all community volunteers!"

But on weekends and at night, the volunteers take over and the station soars. We've heard things we just don't hear on other stations. Imagine tuning in and hearing Hotlegs (the pre-Graham Gouldman group that would become 10cc) playing "Suite F.A."! Or a whole program on '60s Swedish Garage-Psychedelic music. These guys don't get paid. They are driven by a passion for what they play and their only reward, other than having the opportunity to share their music with a wider audience, comes from having listeners call in to chat, say thanks, or even request a song.

"WKHS also has a dedicated crew of community volunteers who do radio shows in the evenings. These shows are "labors of love" that consist of just about any genre of music that you can possibly imagine. Our volunteers are dedicated, knowledgeable, and entertaining." - WKHS web site

And while we generally like all their programs of "Commercial Free Diversity" - "Thrill of the Night" 1st Generation Rock and Roll (Sundays 6-8 pm with Al Miller and Dick Lillard, Mondays 6-8 pm with Ron Lockwood);  Charlie Stinchcomb and Bucky Murphy's "Voices from the Doorway" Doo Wop (Tuesday nights, 6-8 pm); P.J. Elbourn's "Dixieland & Big Band Jazz" (Wednesdays, 6-8 pm);  Lain Hawkridge's "Musicology" modern music "genre exploration" (Thursdays 6-8 pm); Willie "Moonman" Bacote's "Southern Soul" (Fridays 6-8 pm), Andy "The Coach" Moloney's "Music Show" (Saturdays 10 am-12 pm, Sundays 8 pm -12 am); as well as Mike Martinez's "Southern Star Country Club" (Mondays, 8-10 pm), Patrick Clancy's "One Particular Harbour" Island/Party Music show (Tuesdays, 8-10 pm), and Bill Staples' "Honky Tonk Jukebox" (Wednesdays, 8-10 pm) - it's Martin Q. Blank's "The Night Shift," which airs Fridays nights from 8-11 pm, that we LOVE.

Ultravox - "Young Savage" 7-inch (Island Records, 1977)

Amy and I first discovered Martin Q. Blank and his "Night Shift" when we heard him blasting Ultravox's "Young Savage" one Friday night. We were driving home from happy hour at a local bar and, I must confess, I was a little tight and overly enthused to hear a radio station playing anything by the early, John Foxx-led Ultravox. By this time, I had parked the car in front of our house, but kept the engine running and the radio on because the good tunes just kept coming. "They must be doing a '70s Punk and New Wave set," I recall saying, as I think we heard Richard Hell and the New Yorks Dolls in the DJ's "rock block."

Listen to Ultravox play "Young Savage."

Previously, I recall tuning in on another Friday night around the same time and being amazed to hear Barclay James Harvest (a band that practically defines '70s FM Radio AOR; I think I heard "Poor Boy Blues" and "Mill Boys" from 1974's Everyone Is Everybody Else) and Pure Prairie League (and not "Amy"- the only PPL song everybody plays - but rather "Angel" or "Falling In and Out of Love" from 1972's Bustin' Out). It was good. It was unexpected. It was album-oriented rock that harkened back to my era of musical consciousness (for better or worse): the '70s. We wondered who was playing this stuff, but it took that Ultravox-led rock block to get us to tune in regularly and find out.

Pure Prairie League - "Bustin' Out" (RCA, 1972)

“If I was stuck on a desert island with a Walkman and unlimited batteries, my choice of music would be Pure Prairie League. The first two albums are incredible.” - Martin Q. Blank (quote from "Tuned In" by David Healey, Star-Democrat, May 22, 2005)

Unfortunately, there is a dearth of articles written about WKHS's volunteer disc jockeys and the station doesn't post their playlists or stream or podcast their shows. Thankfully, there are two good  features from Maryland's regional papers. The Chestertown Spy's Bill Arrowood profiled them in his "WKHS Disc Jockeys Harken Back to Radio's Golden Era" piece (March 26, 2014) and Cecil Whig reporter David Healey interviewed Martin Q. Blank in his "Tuned In" review for Easton, MD's Star-Democrat (May 22, 2005).

Martin Q. Blank is "Tuned In"

A few years back, Martin Q. Blank got tired of listening to the same old songs on the radio. Most people would have just changed stations. He started his own radio show instead.
 - David Healey ("Tuned In," Star-Democrat, May 22, 2005)

"Martin Q. Blank" is actually the radio alias of Michael Coleman, son of former WKHS DJ Charlie Coleman. (If "Martin Q. Blank" sounds familiar, it's because it was taken from John Cusack's character in the 1997 film Grosse Pointe Blank.)

John Cusack, aka "Martin Q. Blank"

The Colemans were natives of nearby Chestertown in Kent County. Michael actually graduated from the high school where he now does his weekly radio show. Charlie Coleman (1952-2011) was a legendary figure at the station, broadcasting a Doo Wop show from 1988-1997 before switching over to do a Country program from 2000-2008. His son "Martin Q. Blank" made his broadcast debut in 1997 and, from the start, it was clear that good taste was in his gene pool.

From the start, he followed the advice of fellow WKHS disc jockey Charlie Coleman: “‘Don’t just play the hits,’ he told me. They can hear that every single day. Play the more obscure tracks that you don’t hear any more. They’re listening for songs they may have forgotten. The music is the most important thing, rather than the DJ playing it.” - Dan Healey ("Tuned In," Star-Democrat)

Blank breaks his three-hour "'70's, '80s, '90s & Beyond"-themed show into one-hour blocks representing each decade, starting with the '70s at 8 pm, continuing with the '80s at 9 pm, and finishing with the '90s at 10 pm. (The '70s and '80s playlists are the strongest, in this listener's opinion.) Blank has a very youthful voice, one that made Amy and I wonder how someone who sounded barely old enough to remember the '70s or '80s could know all these cool tunes from those times. So after he opened this past Friday's show with the theme song from WKRP in Cincinnati (which just happens to be one of Amy's all-time favorite TV shows - she actually sang along to it word-for-word, "Baby, if you ever wonder...")...

...followed by Buzzcocks playing 1978's "What Do I Get?"...

...and a trio of songs by D-Day ("Too Young To Date"), Blondie ("Accidents Never Happen" from Eat To the Beat) and Elvis Costello ("Oliver's Army" from Armed Forces) - all dating from 1979 - I resolved to call the station and find out.

D-Day - "Too Young To Date" 7-inch (Moment Productions, 1979)

Ring-a-ding-ding! "WKHS 90.5 FM, this is Martin," he answered.

"Hi Martin, this is Tom and Amy calling from Baltimore - we love your show!" I said, congratulating him on the night's programming so far and telling him I was most impressed by his playing D-Day's "Too Young To Date." I actually own this obscure punk single - and used to play it on my old WJHU radio show - but hadn't heard it in over 35 years! (I doubt many people have ever heard it, for that matter. Though it reached #1 on L.A.'s KROQ and was included on the now out-of-print New Wave Hits of the '80s Vol 1 - an ironically named compilation, since all the songs were recorded in 1979 - its Lolita subject matter is definitely politically incorrect and the record was briefly banned from airplay on California radio.) I asked Martin how old he was, because to me he sounded Too Young To Remember songs like "Too Young To Date" from 1979. I was floored when he told me he was 44!

I handed the phone to Amy and said, "Say hi, Amy!" "Hi Amy!" she spoke into the phone. Martin Q. Blank was very friendly and glad to hear we were calling from Baltimore. He even promised to dedicate his next three-song set at 9 pm to "Tom and Amy in Baltimore." It included selections from three of my favorite one-hit wonders: Killer Pussy, Josie Cotton and The Humans.

The callers often help fuel the show. “They turn me on to so much I don’t know about or that I forgot,” he said. “Sometimes I’ll say, ‘Man, I haven’t heard that in years.’” Some nights he doesn’t take requests but does a special show. That includes his annual “Miami Vice” night featuring songs from the 1980s TV series. Another recent show was made up entirely of soundtracks from ‘80s movies. He reaches deep to find that gem from the B side or that one- hit wonder. - Dan Healey ("Tuned In," Star-Democrat, May 22, 2005)

Martin Q. Blank is funny and self-deprecating. He frequently mentions that he is single and ad-libs lines when cueing up records. Tonight, for example, he introduced "What Do I Get?" by Buzzcocks with the crack, "Girls are always saying this to me." When he was interviewed by The Cecil Whig's Dan Healy back in 2005, Martin confessed that he sometimes wings it in the studio, bringing in a small number of records and CDs but otherwise playing it by ear based on his mood and the requests he gets. "As they're playing and the calls come in, that's when I start to pick the rest. I like to keep it loose."

For Blank, it’s all about the music — and the callers. - Dan Healey ("Tuned In," Star-Democrat, May 22, 2005)

As this Friday night's show continued, Martin played some so-so AC/DC, Journey, Boston, and Cheap Trick ("Dream Police") before returning to some older '70s gems, like Robert Gordon & Link Wray covering The Johnny Burnette Trio's rockabilly classic "Lonesome Train" and the mid-period (pre-Buckingham & Nicks), Bob-dominated (Bob Welch & Bob Weston) Fleetwood Mac playing "Hypnotized" (from 1973's Mystery To Me LP, a personal fave).

Tom & Amy's Triple-Play Dedication:

And then at 9 pm, the '80s set kicked off with Martin's three-song dedication to us:  "This next set goes out to some new callers, Tom and Amy from Baltimore!"

Killer Pussy - "Teenage Enema Nurses In Bondage"

Killer Pussy - "Teenage Enema Nurses In Bondage" EP (Sho-Pink Records, 1982)

Josie Cotton - "Johnny, Are You Queer?"

Josie Cotton - "Johnny, Are You Queer?" (WEA, 1981)

The Humans - "I Live in the City"

The Humans - "I Live in the City" (IRS Records, 1980)

I'm proud to say I own all three records and they are inspired choices. As their titles suggest, "Teenage Enema Nurses in Bondage" and "Johnny, Are You Queer?" are pure novelty songs, but San Jose's The Humans were a solid New Wave outfit and "I Live in the City" is a great song musically and lyrically ("If you're gonna act like that you better get on the stage/You're looking for something, try this...She moved up to Hollywood, where she can scream - and she gets away with it!").

And there was more good stuff to come...The La's, R.E.M., Bad Company ("Electric Land"), The Bluebells ("Cath"), Rachel Sweet ("Voo Doo"), The Church ("Under the Milky Way"), The Nails ("88 Lines About 44 Women" - later used in a Clio award-winning Mazda commercial), INXS ("Mystify"), and - completely out of left-field, Canadian one-hit wonder Aldo Nova playing "Fantasy"! I can still remember the MTV music video (back in the days of yore when MTV actually played music!). Total cheese, but fun!

"...The guy knows his music. Sometimes we sit around and talk about music and he can destroy me with his knowledge.” - former WKHS station manager Steve Kramarck (quoted in "Tuned In" by Dan Healey, Star-Democrat, May 22, 2005)

I wasn't as wowed by the '90s portion of "The Night Shift," but there were some good songs here and there. Martin played Red House Painters ("Katie's Song"), Mother Love Bone, Feist, Wilco, Jules Shear, Trashcan Sinatras, and Dangermouse with Norah Jones covering The Lovin' Spoonful's "Darlin' Be Home Soon." But what piqued my interest was the first request he played, Thrush Hermit's "North Dakota." Not for the song so much as for who requested it: "My friend, Steve Randall from Baltimore."

“His CD collection is massive, and he somehow manages to lug the whole thing into the studio every week.” - Steve Randall (quoted in "Tuned In" by Dan Healey, Star-Democrat, May 22, 2005)

Apparently, Randall is a regular caller and Martin claims he has discovered quite a few bands and tunes thanks to him. I wondered if this was the Steve Randall I knew, the erstwhile bass player from the '70s punk band Ivan & The Executioners, who released the classic single "I Wanna Kill James Tailor" b/w "Biafran Boy." (The spelling of  sweet baby "James Taylor" was changed, for obvious legal reasons!). In addition to Steve, this band featured my friend and former St. Paul's classmate Hoppy Hopkins (Da Moronics, Mambo Combo, Rockabilly Band, etc.) on drums. (That's him about to get his head chopped off in the picture below.)

Ivan and The Executioners (Steve Randall, far right)

"I Wanna Kill James Tailor" b/w "Biafran Boy" 7-inch (Fine Taste, 1979)

That Steve Randall (aka "Steve Scandal") had very eclectic taste and was a damned fine rock critic, as well. I lost touch with him over the years, but I wonder if he turned Martin on to D-Day and some of the other obscurities heard on "The Night Shift." Hmmm, just a thought to ponder. (If not, and if Martin Q. Blank is reading this, be sure to get your hands on this record and dedicate it to your "Steve Randall"!) Martin mentioned his friend's name several more times as he introduced new musical "discoveries," as well as other regulars whose tastes he remembers.

I admit my attention was drifting in and out during the last hour of the broadcast, until I heard something that made me stop in my tracks. Martin Q. Blank ended his show with a real stunner: He played Sinatra! (I guess that was "The Beyond" part of his show's "'70s,'80s, '90s & Beyond" format.) And not just any Sinatra, but a true Sinatra rarity, one that even this Sinatraphile didn't have on CD. I'm talking about "Half As Lovely (Twice As True)." Originally the B-side of the 1954 Capitol Records single "The Gal That Got Away," it later appeared on the extremely rare This Is Sinatra 2 LP and the long out-of-print Australian International Sinatra Society's Sinatra Rarities - Volume Two LP. I think Martin was playing it for a female caller he hadn't spoken to in a while. Regardless: Mind. Blown.

Frank Sinatra - "The Rarities - Volume Two" (EMI Australia, 1983)

It sounds like Martin Q. Blank gets a lot a call-ins, and that must be reassuring because "dead air" and "radio silence" are the things that make DJs lose sleep. He obviously has a following, and I'm glad Amy and I have joined the ranks. Now, if only WKHS would start publishing their playlists! Until then, we'll just have to continue to call in!

"When it stops being fun, you stop doing it. If there are a hundred people out there listening, then it is well worth my time." - Martin Q. Blank (quoted in "Tune In" by Dan Healey, Star-Democrat, May 22, 2005)

Martin, it's well worth our time to listen to you! Thanks, and keep spinning those platters that matter!

Related Links:

"WKHS Disc Jockeys Harken Back to Radio's Golden Era" by Bill Arrowood (The Chestertown Spy, March 26, 2014)
"WKHS Disc Jockeys Harken Back to Radio's Golden Era" w/additional text and graphics (Baltimore Or Less)
"Tuned In" by Dave Healey, Special from the Cecil Whig (The Star-Democrat, May 22, 2005)
"Talk To Me" - Willie "Moonman" Bacote profile in Urbanite magazine (December 2008)
Martin Q. Blank on Facebook
Fans and Friends of Martin Q. Blank, The Nightshift (Facebook group)

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