Friday, March 12, 2021

"Elysium": Lincoln F. Johnson's 1961 film about Baltimore painted screens

I only recently discovered this film in the Pratt Library's 16mm film collection. It is an early celebration of Baltimore's rich painted window screen heritage, then at its height before the advent of air conditioning and changing times shuttered the tradition. - Tom Warner

Elysium (1961) (Directed by Lincoln F. Johnson,14 minutes, color, 16mm film)

This study of the painted screens found in the windows of East Baltimore explores, with sympathetic irony, the contrast between the idyllic imagery of the screens and the metropolitan environment in which they appear; investigates the life of the streets; suggests something of the beauty and humor of the ordinary; and witnesses the painting of a screen by Richard Octavec (also spelled as “Oktavec”).

Richard Oktavec painting a window screen

Richard was the son of William Oktavec, who founded Baltimore’s painted screen tradition in 1913 and passed it down through three generations of his family (as documented in “Oktavec’s Painted Window Screens”). A fixture in Baltimore’s Northeast Bohemian (Czech) community, William Oktavec initially sold screens at his Collington and Ashland Avenue corner grocery before opening The Art Shop (which is shown in the film) at 2409 East Monument Street in 1922, where he sold paintings "by the thousands" and taught art classes. (One of his students was Baltimore native Johnny Eck, star of Tod Browning’s 1932 film Freaks). 

The film also includes a narration in verse adapted from Michael Drayton's The Muses' Elyzium (1630), which is set against a background of street noises and the improvisations of a jazz combo (The Furys), which at one point plays "Madison Time - a Top 40 hit for Ray Bryant (uncle of The Tonight Show With Jay Leno bandleader Kevin Eubanks) that in 1960 became a national dance craze rivaling The Twist after the “Madison steps” (which ranged from tracing an M on the floor to mimicking Jackie Gleason’s “and away we go” gesture) were popularized on Baltimore TV's The Buddy Deane Show - as young African-American girls are shown dancing the steps on the sidewalk.

Young girls dancing "The Madison"

Two local Black DJs, Al Brown and Eddie Morrison, released separate recordings of the song in 1960 and The Buddy Deane Show version, called "The Madison," featured Al Brown and his Tunetoppers calling out instructions to the teenage dancers. The Madison was later featured in both Jean-Luc Godard’s Band of Outsiders (1964) and John Waters’ Hairspray (1988).

Al Brown calls out "The Madison"

Al Brown's Tunetoppers featuring Cookie Brown

Skillfully edited scenes also offer commentary on the verses and contrasting images: a shot of flowers is juxtaposed with one depicting the metal petals of a window rotary fan; a window display of brassieres is followed by an image of teat-shaped balloons at a festival; a painted screen of a bucolic horse-drawn fruit vendor is followed by footage of a Baltimore “Arabber” cart slowly making its way down a city street. Verses about rural landscapes are recited over scenes of Baltimore’s Block. Formstone, another Baltimore tradition, is seen everywhere, framing the painted screens.

Elysium was written and directed by Dr. Lincoln F. Johnson, an art historian and teacher who chaired the fine arts department at Goucher College until his retirement in 1985. A painter himself, Johnson championed film as the 20th Century’s major artistic medium and in the 1960s helped organize the Maryland Film Festival (later the Film Forum).
Johnson was the author of the book Film: Space, Time, Light and Sound (1974) and in the 1970s wrote art criticism for The Baltimore Sun and introduced films shown at the Enoch Pratt Free Library.

"My ideas lead in the direction of poetic documentary, as far as educational films are concerned,” he told the Baltimore Sun in 1968. He explained he was interested in making films about Baltimore that examined “vanishing aspects” of its culture and contrasted the different levels of society in the city.

One of those different social levels in the city was its African-American community. That’s why the film segment showing young Black girls dancing the Madison was significant. As Mary Rizzo observes in Come And Be Shocked: Baltimore Beyond John Waters and The Wire (Johns Hopkins University Press, 2020), “The Madison symbolized the complicated cultural politics of race in Baltimore.” Though it was created by Black Chicagoans and popularized by two Black Baltimore DJs, it was only after “it was featured on the segregated Buddy Deane Show that ensured that white teens in Baltimore and, soon enough, the rest of the country, would be dipping and swaying in Madison time.”

Elysium is also a wonderful time capsule capturing the architecture, fashion and culture of the city before the many changes that were to come in the turbulent 1960s. But many traditions have endured the winds of change: Formstone, painted screens, Arabbers, street cars (now called “light rail”) and even the notorious Block have stood the test of time. Dr. Johnson died in Towson in May 2001, age 80; the Baltimore Sun's Jacques Kelly wrote a touching obituary. Elysium was photographed by Roland Read; the music was composed by Sherodd Albritton, then a Goucher music professor; and the verse was narrated by Hilary Hinrichs, whose rich, drawling intonation reminds me of Hermione Gingold if she was a poetry professor. In a clever touch, Elysium's opening and ending credits are superimposed over painted screens.

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Monday, November 30, 2020

Murder In the Stacks

Remembering Pratt's Star Turn On Homicide

[This post was originally written for the library's blog page.]

A pen, like love, is "A Many Splendored Thing"

The Enoch Pratt Central Library has enjoyed an impressive acting career, having played itself in a number of television and film appearances, from a 1961 supporting role in CBS’ popular television series Route 66 to a cameo in the 2017 Netflix mini-series The Keepers. But its greatest role was as the crime scene of a bizarre murder in the 1994 Season 2 finale of NBC’s Homicide: Life On the Street. That episode, “A Many Splendored Thing” - about a man with a pen fetish who shoots another man at the Central Library after arguing over a $1.49 pen - was based on a real-life killing that took place at a donut shop in Severna Park, MD on August 25, 1993. “A Many Splendored Thing” is available on the Homicide: Life On the Street - Seasons 1 & 2 DVD and may be checked out from Pratt through their Sidewalk Service or Books-by-Mail services.

Pratt Central stars in "Homicide" Season 2

“A Many Splendored Thing” was nominated for a 1994 Writers Guild of America Award for Best Screenplay of an Episodic Drama and The Baltimore Sun rated it one of the ten best episodes of the Baltimore-based series - based on the book by David Simon and executive-produced by Barry Levinson -  that ran for seven seasons from 1993-1999.

As in the board game Clue, the plot featured a “Mr. Boddy” discovered in the library - specifically, Pratt’s Social Science & History (SSH) Department - shot to death by a gun. There, detectives Meldrick Lewis (Clark Johnson) and Steve Crocetti (Jon Polito) identify the victim as a Mr. Max Zintak, with Crocetti cracking, “Either it's murder or this library has a very strict overdue book policy.”

Mr. Boddy in the Library, permanently checked out

A number of past and present Pratt librarians remember the famous Homicide "shoot."

"I was there that day," says Special Collection's Davetta Parker, now in her 40th year at Pratt. "I remember them setting up downstairs in the stacks and working their way up to Wheeler Auditorium."

"My memories of that shoot are more a matter of what I did not see," recalls retired Pratt librarian Bob Burke, a former SSH Department head who in 1993 was working in the Sights & Sounds audiovisual department. "No Frank Pendleton down in the stacks, no sign of Munch in the photocopy room, no Gee slamming the door to Wheeler, not even Kay Howard or Tim Bayliss interviewing potential suspects in the staff lounge. But the one item of interest that I did see was a fully dressed, splayed-out dummy on the stage in Wheeler - definitely not something you would expect to see during a typical day at Central!"

"It was before my time at Pratt," John Damond, Manager of Pratt's Business, Science & Technology Department, adds. "But the one thing I remember about that episode was the detective interviewing the librarian and calling her 'Miss.' 'It's Mrs,' she replied, holding up her wedding ring. 'Everyone always assumes all librarians are old maids!' I thought that was funny."

Lewis and Crocetti interview Mrs. Newdow in the SSH Department

It is indeed a great scene. When detectives Lewis and Crocetti interview the librarian, Mrs. Newdow (Jane Beard), about the shooting, she explains that the suspect asked to borrow a pen from the victim and they had a friendly conversation (“I even had to tell them to shush once.”). But when the shooter offered to buy the pen from the victim, he refused, saying “It's just a $1.49 pen and it's the only one I have. You can buy one anywhere.” Then, according to Mrs. Newdow, “The man who shot the man who got shot took out a gun and he shot him. He just kept on firing. It was very noisy!”

SSH Librarian Mrs. Newdow: "I even had to tell them to shush!"

As the victim is wheeled past him on a gurney, an incredulous Lewis says, “There's gotta be more to this than a lousy five-and-dime ink pen.” Crocetti thinks not, recalling another local killing over a pair of sneakers. “Yeah, sneakers,” Lewis sighs. “Baltimore, home of the misdemeanor homicide.”

"There's gotta be more to this than a lousy five-and-dime ink pen!"

The killer is later identified as Mitchell Forman (Sal S. Kousaa), a former Spring Grove hospital patient. "Insane asylum," Lewis snorts, to which Crocetti replies, "You don't say insane anymore, Meldrick. You say mental health disorder...and you don't say asylum anymore, you say diagnostic center." Lewis dismissively concludes the discussion with a single word: "Nutcase!"

Lewis stands by his assessment after a visit to Forman's apartment, which is furnished from floor-to-ceiling with nothing but pens. But Lewis later comes to understand the pen fetishist's obsession when he talks him down from a rooftop suicide attempt by promising to write his life story. "What pen will you use?" Forman asks. "This one," Lewis replies, holding up his own prized gold pen, given to him by his dying grandmother. "Oh, very nice!" says a transfixed Forman, who then surrenders.

Lewis promises to write Forman's story with a good pen

But all that glitters in life isn't gold. In the episode's coda, Lewis, sensing the futility in being overly attached to material possessions, gives his coveted gold pen to detective Beau Felton (Daniel Baldwin). After all, as he earlier confided to Crocetti, "I love this pen, but not enough to die for it." Or, to kill for it.

"A Many Spendored Thing" is notable for a number of reasons besides its "Central casting" of Pratt Library.

  • This episode was the final appearance of Jon Polito as detective Steve Crocetti (1993-1994). 
Julianna Margulies as Linda

  • The episode featured guest appearances of future TV star Julianna Margulies (The Good Wife) and indie film darling Adrienne Shelly (The Unbelievable Truth, Trust, Waitress). Margulies plays Linda, the violin-playing waitress girlfriend of Stanley “The Big Man” Bolander (Ned Beatty), while Shelly portrays Tanya Quinn, the owner of The Leather Chain, a S&M fashion store that seems to be modeled after the old Leather Underground boutique on Read Street. At one point, detective Tim Bayliss (Kyle Secor), concerned about the risks Shelly takes in her S&M role playing, asks “If you know you could be killed, then why keep doing it?” The scene is eerily prescient, for the Homicide actress later became a homicide victim when she was strangled to death in her Greenwich Village apartment in 2006.

Kyle Secor and Andre Braugher interview Adrienne Shelly
  • Local connections abound in this episode and the series as a whole: the casting director was none other than Pat Moran, most famous for her work on John Waters’ films, The Wire and HBO’s Veep. Another John Waters regular, Vincent Peranio, was production designer. Both worked on Homicide for its entire series run. And filmmaker Mark Pellington (Arlington Road, The Mothman Prophecies, Henry Poole Is Here), son of legendary Baltimore Colts linebacker Bill Pellington, created the series' opening title sequence. The St. Paul’s School for Boys graduate is perhaps best known for his award-winning music video for Pearl Jam’s “Jeremy” (1992) and his portrayal of an irate director in Jerry Maguire (1996).

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Monday, August 20, 2018

Everybody Goes To Gino's Fan Appreciation Day

Colts legend and Gino's co-founder Gino Marchetti signs autograph for fanboy Tom Warner

By Tom Warner (Baltimore or Less, October 9, 2011)

TOWSON, MD. - Former Baltimore Colts "Hall of Famer" and Gino's restaurant chain co-founder Gino Marchetti hosted a "Fan Appreciation Day" along with other Colts alumuni this past Sunday at the newly opened Gino's Burgers and Chicken store on the corner of Joppa and LaSalle Road in Towson. Gino was joined by former Colts favorites and fellow Hall of Famers Art Donovan and Lenny Moore, as well as Jim Mutscheller, Stan White and Toni Linhart, who all graciously (and patiently) signed autographs and chatted with the long lines of fans and restaurant patrons that queued up with all sorts of signature-worthy memorabilia (everything from helmets and jerseys to Memorial Stadium seats and Looney Tunes Football cartoon posters) between 11 a.m. and 3 p.m. Also on hand were proud sons Chad Unitas (looking like a clone of his Hall of Fame quarterback dad Johnny U.) and Mike Campanella (son of former Colts linebacker and general manager Joe Campanella), not to mention two very shapely and personable Ravens cheerleaders (though I think they work out a lot and avoid most of the items on the Gino's menu) .

"Oh, bother!" Tom Warner grudgingly agreed to pose with Ravens cheerleader Amanda.

Gino Marchetti, now 85 and living outside Philadephia, co-founded the hamburger chain bearing his name along with fellow Colts legend Alan Ameche and friend Louis Fischer back in 1957. The first Gino's brand restaurant opened in 1959 at 4009 North Point Road in Dundalk; the last Gino's, an independently-owned restaurant located in Pasadena, closed in 1991. At its peak, there were over 350 Gino's franchises operating up and down the East Coast corridor. Gino's was subsequently acquired by the Marriott Corporation in 1982, who converted locations to their Roy Rogers Restaurant chain, but only recently resurfaced under a new name, Gino's Burgers and Chicken, which opened its doors at the inaugural Baltimore-area location in Towson earlier this summer. The new Gino's menu reflects meals similar to those from the '50s (hamburgers, milkshakes, french fries, and the Gino's Giant), albeit prices a tad higher than those on the '50s menu shown below.

Vintage Gino's 15-cent Hamburgers menu

Baltimore Sun reporter Chris Kaltenbach quoted Gino as saying of the occasion, "It's always good to come to Baltimore. It brings back a lot of good memories."

The feeling was certainly reciprocal going by the happy, smiling faces lined up outside Gino's restaurant on this glorious sunny day.

Admittedly, I stood in line for over an hour because I was hoping to get my copy of Art Donovan's hilarious memoir Fatso: Football When Men Were Men (1987) signed by the big galoot himself, but word soon filtered through the long fan queue that Artie had pulled out early. That was alright by me, as I still had my original Gino's menu for Gino to sign and was enjoying the company of my queue-mates. In front of me were Stefan Falk, who wore a Johnny Unitas jersey and carried his Memorial Stadium season-ticket-holder seat plank while recounting all of Artie's madcap exploits...

[caption id="attachment_5546" align="alignnone" width="1024" caption="True Blue: Stefan Falk holds up his beloved Colts seat plank from Memorial Stadium"][/caption]

...and the charming couple Don and Sharon Engelman.

[caption id="attachment_5544" align="alignnone" width="1024" caption="Sharon and Don Engleman"][/caption]

Don, who's a cartoon cell art collector in addition to being a football fan, was carrying a huge poster of Looney Tunes cartoon characters playing football that he had systematically gotten various Colts players to sign over the years. He said his goal was to get signatures from all the Colts Hall of Famers, and he rued having missed getting Jim Parker (1934-2005) who, he laughed, "went and died on me before I got the chance."

[caption id="attachment_5543" align="alignnone" width="768" caption="Don Engleman unveils his Looney Tunes Football poster"][/caption]

It turned out that Don and Sharon live down the street in Hampden from my high school teacher and friend Mike Makarovich (we do truly live in Smalltimore!). Don had forgotten his camera, and Stefan's camera batteries ran out, so I assured the fellows that I would snap photos of them with Gino and e-mail them later. Behind me was a nice mom with her two boys; like me, she didn't know much about football, and she periodically asked me, "Who's that? Is he a Colt? What position did he play?" Some questions I could answer, others I referred to Don and Stefan, who knew everybody. All I knew was that you could tell football old-timers because they all hobbled when they walked; it's a cruel game physically, but the mental and aesthetic rewards were obvious - I had only to look at the long lines of Colts fans to see that.

[caption id="attachment_5553" align="alignnone" width="1024" caption="Toni Linhart obliges fans waiting for his autograph."][/caption]

Aesthetically, I'm not into football at all, but there was something about the old Colts that seemed to transcend the game to me. It may all be a case of hindsight-is-golden myth-making and too many reruns of Barry Levinson's Diner, but it truly seemed like a different game back in the era of Johnny U. and Raymond Berry and Lenny Moore and Alan Ameche and Gino Marchetti. A time of characters. Artie Donovan called it the era "when men were really men," which may sound corny like something John Ford would have said about his Westerns starring John Wayne, but it did seem like a more innocent time, one before steroids and college recruiting scandals and people looking on the NFL as standing for the National Felons League. Or, as Donovan said in Fatso, "Not like these bums today with their briefcases and goddamn stock portfolios. I played with some wild teams with some wild guys during some wild times."

As we stood in line, former Colts players like Stan White and Toni Linhart came up to greet us, always saying things like "Thanks for remembering me" or "It's good to be remembered" and "Thanks for coming out." Good, good, good vibrations.

[caption id="attachment_5548" align="alignnone" width="768" caption="Stan White signs Stefan Falk's Memorial Stadium seat plank"][/caption]

I especially enjoyed talking to Toni Linhart, one of the first European soccer-style field-goal kickers in the NFL, which is hardly surprising given his soccer pedigree. When I asked Toni if he still followed the European soccer leagues, he said he remained a fan of Bayern Munich. "They were the big club when I was growing up, the one everyone wanted to play for." Some things never change, as far as that goes with the current Bundesliga frontrunners. When I mentioned how much I loved FC Barcelona, Toni said he sees Mr. Barcelona himself, former Dutch national and Barcelona star Johan Cruyff, every year at his Native Vision youth soccer camp in New Mexico. "It doesn't get more Barcelona connection that that, eh?" he said. No it doesn't, Toni. Well played sir!

I eventually got my face time with the Gino Giant himself, and he smiled looking at my vintage Gino's menu from the '50s. (But he ignored my request to honor the printed price of 15 cents for a plain hamburger! He is, after all, a businessman now.)

[caption id="attachment_5555" align="alignnone" width="1024" caption=""Can I still get that 15 cent burger, Mr. Marchetti?""][/caption]

But I was happiest on this day for Don Engleman and Stefan Falk when they finally got to to meet and greet #72, Gino Marchetti. Gino was clearly amused by all the memorabilia Stefan had, especially the seat plank, which he gladly signed.

[caption id="attachment_5549" align="alignnone" width="768" caption="'Have a seat, Gino!' Stefan Falk gets Gino to sign his Colts seat plank."][/caption]

And Gino seemed intrigued by Don Engleman's Looney Tunes autograph project.

[caption id="attachment_5557" align="alignnone" width="1024" caption="Don Engleman shows Gino his Colts-signed Looney Tunes poster."][/caption]

[caption id="attachment_5558" align="alignnone" width="1024" caption=""Hmmm, which Looney Tune character do I wanna be?" Gino muses."][/caption]

[caption id="attachment_5560" align="alignnone" width="1024" caption="Gino gets closure on his career by picking his own Looney Tunes character."][/caption]

The mom in line behind me was a former school teacher who didn't know a lot about the old Colts, but she knew her two young boys would one day thank her for the opportunity to meet a football legend. I was happy for her family, too.

[caption id="attachment_5571" align="alignnone" width="1024" caption=""You'll thank me for this photo op someday," a mom tells her boys. "][/caption]

And me? Though I missed seeing Artie Donovan (with whom I had an admittedly loose connection - my wedding reception was held at his Valley Country Club), it still felt kind of momentous meeting Gino Marchetti because it brought me back to my beginnings. You see, Gino's started the year I started, 1957. In fact, looking at that old Gino's menu was kind of like looking at my birth certificate. So not only was 1957 the year the Russians launched Sputnik, thus jump-starting the Great Space Race, but it was also the year Gino's launched, kick-starting the Great Colts Restaurant Race (Johnny U's Golden Arm, Ordell Braasie's Flaming Pit, Bill Pellington's Iron Horse Restaurant, and so on - a tradition that carries on in a different uniform with Raven Ray Lewis's Full Moon Bar-B-Que in Canton). So, as Frank Sinatra would sing, "It was a very good year..." Thank you Gino!

Vintage Gino's Commercials:
Watch a Soupy Sales (as Paul Revere) Gino's Ad

Watch Gino's soulful '70s R&B commercial

Watch 1971 Gino's commercial

Watch WMAR's Gino's Segment

Watch new Gino's commercial

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Tuesday, July 18, 2017

Blog Is Dead

Friday, June 16, 2017

Pictures of a Photogenic Patriarch

The Warner S. Warner Photo Album

My father's recent passing left me in possession of most of the family photo albums. Following are some of the better pics of our photogenic patriarch, William S. Warner (aka "The Duke"), that I discovered digging through the plentiful photo archives. (Consider this a photo slide show, posted here to save having to haul out a ton of boxed-up photo albums!)

William S. and Howard H. Warner, babes in arms

Even before Blakehurst, Duke was a croquet veteran

In Navy coat outside Forest Park home

Dressed to chill in a stylish hat

Bowtie Bill with Baby Billy Jr.

Mother "Bo" takes over holding Billy Jr.

Duke with wild Elvis Presley hair, holding Billy Jr. below the famous Yardley Taylor Loudoun County, VA map

Dad with his dad, Dr. Howard H. Warner, holding Billy Jr., and Aunt Muh, Evergreen Farm

Aunt Amelia and "Carnation Harry" Soulsby flank my dad with Billy Jr. Harry was dad's father-in-law. My mom's mother died following childbirth; she was raided by Harry and "Auntie"

Dad holding up the pillars of Evergreen Farm

Dad holding Nancy Stewart Warner (named after his late twin sister) while Billy Jr. sits on a footstool

Downy Ocean with Billy and Nancy

Downy Ocean with Germ and Duke in their finest Run DMC Adidas leisure wear

Lieutenant William S. Warner, U.S.N.R.

As a pilot on the Galapagos Islands

On Galapagos, there wasn't much to do except get Blackie the goat drunk

Drinking in the Galapagos Officers Club (third from left)

Duke astride his flight school training plane

Playing ball at flight school. I used to think this was my dad, but I think he's actually on the bench, far right

Fly Guys: Dad far left

Dad trained to fly on one of these birds

Looking spiffy in his Navy khakis

Looking spiffy in his trunks

The We Flew Crew (dad is third from right)

My favorite photo of the Duke as a WWII pilot

Ensign William S. Warner gets his gold wings

Lieutenant commander William S. Warner

My mom LOVED a man in uniform

Lieutenant William S. Warner weds Emaroy Soulsby Warner, January 24, 1945

Forest Park High School, Class of 1940

Forest Park Senior Class photo (Duke is in the middle, back row)

Getting up middle of the night to quiet baby Billy Jr.

Bill Sr. and Bill Jr. chillin' in the summertime

Dad holding Tommy Warner, back yard of Lanark Court home, Rodgers Forge

Duke cuts the cake with grandchildren Billy G. and Ashley Taylor Warner

Duke with Ashley Warner, the Murphys and Joe Minutelli

Duke & Germ on holiday

Duke & Germ: Emaroy and William S. Warner in full steppin'-out mode

William and Emaroy Warner

Ole! Duke goes native in Spain

"On guard!" Duke and "Beeeel" (son-in-law Bill Aspinwall)

"I'm ready for my close-up, Mr. DeMille." Dad in front of fireplace, 6314 Bellona Avenue

Beeler Boys Duke and Larry: Dad with brother-in-law Bob Soulsby

At the Chicoteague Seafoofd Festival

Having a cool brew with Tommy Brager and friend at Seafood Festival

Slurpin' down oysters with Tommy Brager at the Seafood Festival

Dad, mom, Tommy Brager, Candy & Billy Warner at Seafood Festival

"You're marrying Beeel, Nancy?" Dad and Nancy Warner

The proud parents at Nancy's wedding to William Aspinwall

The Warner Family getting ready to head to Church of the Redeemer for Nancy's wedding

Giving away the bride, Nancy "Hanks" Warner

Broker About Town Bill Warner at Stein Bros. & Boyce

"Buy! Sell! Hold!" Broker Bill Warner at work

The navy blue blazer broker look

Bill Aspinwall with Bill Warner

Getting dressed up for Wigstock
Gone fishing!

Having a cocktail with daughter Nancy on sun porch of 6314 Bellona Avenue

Four generations of Bill Warners

Family get-together at 618 Blakehurst

Continuing the Family Line: William S. Warner, Ashley Taylor Warner and William S. Warner Jr.

The patriarch with his progeny: "Fathead" Tommy, Nancy and Billy Jr.

Duke in sexy summer shorts

At a PBM Mariner flyers reunion

Down on the farm with his dad, Aunt Muh and Billy Jr.

Billy Jr. with Bill Warner Sr.

Emy, Nancy, Bill and Tommy Warner, 1968

Duke and "Bo" with Billy Jr., Evergreen Farm, Lincoln VA

Holding Billy Jr. on porch of Evergreen Farm

Hitting the greens

WSW, TSW and WSW Jr. at 618 Blakehusrt, Towson

Duke the bon vivant, with Bloody Mary in hand

Tommy flanked by mom and dad in New York City

Holding court in his famous chair, 6314 Bellona Avenue

Amy Warner with the Duke at Billy G. Warner's wedding in Northeast, 2014

Dad, Billy Jr. and friend Lou Fleury at his 90th birthday celebration, Blakehurst

Dad flanked by Harry Bowie and Steve Strachan at Billy G. Warner wedding, 2014

William S. and Thomas S. Warner at his 90th birthday celebration, Blakehurst

Four Bills at Duke's 90th, Blakehurst: Billy G.m Billy Jr., Bill Warner Sr. and Bill Aspinwall

Duke, the chick magnet at his 90th birthday party, Blakehurst

Duke opens Christmas presents at 618 Blakehurst

Warners at Elsie O'Malley's 90th birthday celebration: Amy, Tommy, dad, Billy and Candy Warner, Bill Aspinwall

"I like to lead when I dance, Elsie!" Dad with his Blakehurst girlfriend Elsie O'Malley

"Be still my heart!" Dad after dancing with young chicky Jan Seiden at a Pratt Library charity event

Bill Warner and Elsie O'Malley

Dad with me and Bill Aspinwall and Nancy Warner Aspinwall

Duke in the kitchen, 6314 Bellona Avenue

At the Blakehurst Memorial Day Picnic, May 29, 2017

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