a&e features
Martick’s faces demolition in Baltimore
Early gay gathering spot played host to artists before advent of gay bars
One of Baltimore’s early gay gathering spots has been threatened with demolition.
The former Martick’s Restaurant Français, the endangered building, is well known locally as one of the first places where Baltimoreans were introduced to French cuisine.
It housed a speakeasy during the Prohibition era. It has been a magnet for artists and performers, including Billie Holliday, Leonard Bernstein and, more recently, filmmaker John Waters. It’s one of Baltimore’s few remaining buildings that was constructed before the Civil War.
But Martick’s, which is now vacant, was also a place where gay people felt comfortable and came together, long before the advent of gay bars and nightclubs.
According to former employees and patrons, it had a following in the 1950s and 1960s that included not only gay men and women but other members of what is now called the LGBTQ+ community, including bisexuals, crossdressers and people undergoing sex change operations by Johns Hopkins Hospital physician John Money.
“It was one of the first places where gay people felt comfortable coming,” said Jimmy Rouse, an employee from 1974 to 1981, in recent testimony before Baltimore’s preservation commission. “They had people from the Sun papers, the artistic community, the gay community and the jazz community, all coming there during the 50s and 60s.”
The Martick’s building at 214 W. Mulberry St. is endangered because a local developer, Christopher Janian of Vitruvius Development Company and Park Avenue Partners LLC, proposed this year to tear it down and use the land as part of a larger project, a six-story, $30 million apartment building planned for the block.
Janian has appeared before Baltimore’s Commission for Historical and Architectural Preservation (CHAP) twice in the past three months seeking approval to raze the entire building, and twice he has been rebuffed by the preservation panel.
This week he is coming back to CHAP with a compromise plan: He has proposed to save the front third of the Martick’s building in exchange for permission to tear down the rest and make the land part of the residential development.
The demolition proposal is coming at a time when some gay bars and meeting places around the country are being recognized and preserved as cultural landmarks. The best-known example is the Stonewall Inn in New Year City, the site 50 years ago of riots during which patrons protested a police raid on the bar.
The Stonewall riots are considered a key event leading to the gay liberation movement and the fight for gay and lesbian rights in the United States. The Stonewall Inn, still open, has been added to the National Register of Historic Places and designated a New York City landmark specifically because of its association with an LGBT-related event.
In Baltimore, Martick’s restaurant closed in 2008 and the building has been vacant since then. Former owner Morris Martick, who lived in the building for most of his life, died in 2011.
CHAP is involved and holding public hearings on Janian’s plans because the Martick’s building is within the city’s Howard Street Commercial Historic District, and any changes to buildings in the district must be approved by the preservation panel.
At the two previous appearances, Janian’s proposal to tear down the entire building drew strong opposition from former patrons and employees. They argued that the building should be preserved for its historical significance as a rare pre-Civil War structure, for its association with Morris Martick, and for its cultural significance as a magnet for a wide range of people. Seven hundred people have signed a petition to save the building.
At a CHAP hearing in February, several of the speakers noted the building’s significance as a gathering spot for the city’s gay community, at a time when there were few others and many businesses were less tolerant.
Rouse, who is a son of the legendary developer James W. Rouse, waited on tables and tended bar at Martick’s from 1974 to 1981. He said Martick’s role as a hub for the arts community and for gay people came before it was converted to a French restaurant in 1970.
During the 1950s and 1960s, he explained, it was a beatnik bar and jazz club, and that made it a center for the arts community.
It was also integrated, he said. “Very few bars in Baltimore were integrated at that time. Because of jazz music, Billie Holliday would sing there. It developed a kind of regular clientele of what Morris used to refer to as artists-slash-alcoholics…It was almost a rite of passage for anyone who was interested in art to work at Martick’s.”
In his seven years at Martick’s, Rouse said, he worked closely with the owner and got to know him well. He described Martick as a colorful, cantankerous character who put a doorbell on the front door that diners had to ring in order to be let in.
Rouse recalled that when first-time diners asked Martick what he recommended, he would reply, “I recommend you try another restaurant.”
If diners wouldn’t leave after that, Rouse said, he assured them that there are hospitals nearby in case they get sick. “If you choose to stay, we’re in a very good location,” he would tell the customers, Rouse said. “Hopkins Hospital is to the east and the University of Maryland Hospital is to the west.”
Rouse said he thought one reason Martick’s became a magnet for gay people is because Martick, who never married, had gay friends, and that made other gay people feel welcome there.
In the 1950s, Rouse said, Martick “experimented with being gay, and that’s part of the reason he attracted gay people. But in the 60s and 70s, he was heterosexual, totally.”
Martick’s drew writers from The Baltimore Sun, Rouse said, largely because Morris Martick’s sister Rose dated Sun theater and film critic R. H. “Hal” Gardner, and he spent a lot of time there.
Beyond that, Rouse said, Martick was non judgmental, and that carried over to his employees and clientele.
For the wait staff, there wasn’t a strict dress code like there was at Marconi’s several blocks away, he said.
“It was so relaxed. You could do your own thing there. There weren’t strict rules about how you approached the table. It was much freer about how you interacted with the customers. You didn’t have to say your name, I am your waiter. You didn’t have to do that.”
Martick’s approach was reassuring to people who may have felt uncomfortable elsewhere, agreed Ruth Turner, a Baltimore native who worked there in the 1980s and now owns a boutique in Hampden called Caravanserai on the Avenue.
Turner said the same non-judgmental attitude that was appealing to the Jewish community and the arts community was appealing to members of the LGBT community, and that included gay African Americans and transgender people.
“It was exclusively inclusive,” she said. “He allowed anyone who wanted to come in to come in. No questions asked. It was very inclusive. It was a melting pot. Some people were flamboyant. Some weren’t. Morris was accepting of everyone. There were no divisions. We were all just people.”
In terms of human sexuality, Baltimore was a center of experimentation and medical advances, she noted. And the heyday of Martick’s as a jazz club predated places such as Leon’s, the Drinkery and the Hippo.
“This was the beginning of the whole transgender movement and the sex change operations at Hopkins. There was a lot going on. That’s when [sex change pioneer] John Money was at Hopkins.”
At Martick’s, “you weren’t defined by your sexuality or your skin tone,” she said. “You were defined by your character and your behavior. … He looked at people on a one-on-one level…He made it clear that being different and being eccentric is not a problem, it’s an asset.”
Tom DiVenti, another former employee, echoed Turner’s sentiments in an article he wrote for Splice Today entitled “Morris Martick: Last of a Breed.” He called the place a “sanctuary” and said “Morris was the father many of us never had.”
DiVenti recalled that at one dinner party for John Waters, Martick “carved miniature penises out of carrots and whipped up a creamy white sauce appetizer for the guest of honor.” He described Martick as “an original Baltimore character who gave others the freedom to be characters too.”
Martick’s was “a place of tolerance and acceptance for all kinds of people,” DiVenti wrote. “No one was ever judged or criticized for beliefs or non-beliefs. No one was ever bullied because of gender or sexual preference. Restaurants in Baltimore today could take a cue from his old school finesse.”
Will Janian’s partial demolition proposal satisfy the preservationists?
The Baltimore Heritage preservation advocacy group testified against Janian’s plans in February; the board has not taken a position on the latest proposal and was slated to meet this week to discuss it.
Visit washingtonblade.com for updates on this week’s hearing, scheduled for March 12. Email correspondence about the proposal can be sent to CHAP planner Stacy Montgomery at [email protected].
a&e features
Queery: Meet artist, performer John Levengood
Modern creative talks nightlife, coming out, and his personal queer heroes
John Levengood (he/him) describes himself as a modern creative with a wide‑ranging toolkit. He blends music, technology, civic duty, and a sharp sense of wit into a cohesive artistic identity. Known primarily as a recording artist and performer, he’s also a self‑taught music producer and software engineer who embodies a generation of creators who build their own lanes rather than wait for one to appear.
Levengood, 32, who is single and identifies as gay and queer, is best known as a recording artist who has performed at Pride festivals across the country, including the main stages of World Pride DC, Central Arkansas Pride, and Charlotte Pride.
“Locally in the DMV, I’m known for turning heads at nightlife venues with my eye-catching sense of style. When I go out, I don’t try to blend in. I hope I inspire people to be themselves and have the courage to stand out,” he says.
He’s also known for hosting karaoke at Freddie’s Beach Bar in Arlington, Va., on Thursday nights. “I like to create a space where people feel comfortable expressing themselves, building community, and showcasing their talents.”
He also creates social media content from my performances and do interviews at LGBTQ+ bars and theatres in the DMV. Follow the Arlington resident @johnlevengood.
How long have you been out and who was the hardest person to tell?
I have been fully out of the closet since 2019. My parents were the hardest people to tell because my family has always been my rock and at the time I couldn’t imagine a world without them. Their reactions were extremely positive and supportive so I had nothing to fear all along.
I remember sitting on the couch with my mom, dad, and sister in our hotel room in New Orleans during our winter vacation and being so nervous to tell them. After I finally mustered up the nerve and made the proclamation, I realized my dad had already fallen asleep on the couch. My mom promised to tell him when he woke up.
Who’s your LGBTQ hero?
My LGBTQ heroes are Harvey Milk for paving the way for gays in politics and Elton John for being a pioneer for the fabulous and authentic. My local heroes in the DMV are Howard Hicks, manager of Green Lantern, and Tony Rivenbark, manager of Freddie’s Beach Bar. Both of them are essential to creating spaces where I’ve felt welcome and safe since moving to the DMV.
What’s Washington’s best nightspot, past or present?
Trade tops the list for me because of the dance floor and outdoor space. It’s so nice to get a break from the music every once and a while to be able to have a conversation.
We live in challenging times. How do you cope?
I’m still figuring this out. What is working right now is writing music and spending time with family and friends. I’ve also been spending less time on social media going to the gym at least three times a week.
What streaming show are you binging?
After “Traitors” Season 4 ended, I was in a bit of a show hole, but “Stumble” has me in a laughing loop right now. The writing is so witty.
What do you wish you’d known at 18?
At 18, I wish I would have known how liberating it is to come out of the closet. It would have been nice to know some winning lottery numbers as well.
What are your friends messaging about in your most recent group chat?
We are planning our next trip to New York City. If you can believe it, I visited NYC for the first time in 2025 for Pride and I’ve been back every quarter since. Growing up in the country, I was subconsciously primed to be scared of the city. But my mind has been blown. I can’t wait to go back.
Why Washington?
It’s the closest metropolitan area to my family, but not too close. I love the museums, the diversity, the history, and the proximity to the beach and mountains. It’s also nice to live in a city with public transportation.
Aging RFK Stadium has come down, but the RFK grounds are still getting lit up. Welcome back to the stage Project GLOW, D.C.’s homegrown electronic festival, on May 30-31. Back for its fifth year on these musically inclined acres, Project GLOW returns with an even more diverse lineup, and one that continues to celebrate LGBTQ antecedents, attendees, and acts.
Project GLOW 2026 headliners include house and techno star Mau P, progressive house legend Eric Prydz, hard-techno favorite Sara Landry, and bass acts Excision b2b Sullivan King, among the lineup of trance, bass, house, techno, dubstep, and others for the fifth anniversary year.
President & CEO Pete Kalamoutsos — born and raised in D.C. — founded Club GLOW in 1999. In 2020, GLOW entered into a partnership with global entertainment company Insomniac Events to produce live events like Project GLOW, which kicked off in 2022.
As in past years, Project GLOW not only makes space, but is intentionally inclusive of the LGBTQ community, one of its most dedicated fan bases. The festival’s LGBTQ-focused Secret Garden stage blooms again — a more intimate dance area that stands on the strength of DJs and musicians who draw from the LGBTQ community. D.C.’s LGBTQ nightlife mastermind Ed Bailey is the creative mind behind Secret Garden again. He joined Project GLOW in 2023.
“Kalamoustos says that “he’s proud of his partnership with Ed Bailey, along with Capital Pride and [nightlife producer] Jake Resnikow. It’s amazing to collaborate with Bailey at the Secret Garden stage, especially after the curated lineup we worked on at Pride last year.”
The Secret Garden will be a bit different from other stages: Eternal (“At the Eternal stage, time stands still. Lose yourself in the dance of past, present, and future, surrendering to the eternal rhythm of the universe”) and Pulse (“Feel the rhythm of the beat pulse through your veins as the heartbeat of the crowd synchronizes into one. Here, every moment vibrates with life as it guides you through a new dimension of euphoria”). The Secret Garden stage is in the round, surrounded by 16 shipping containers. The containers play canvas to muralists from around the world, who are coming in to paint them in a vibrant garden-style vibe. “We gave this stage some extra love with this layout,” K says, “ we finally cracked the code.”
K says that this will be the biggest lineup yet for the Secret Garden, featuring Nicole Moudaber b2b Chasewest, Riordan b2b Bullet Tooth, Ranger Trucco, Cassian, Eli & Fur, Cosmic Gate and Hayla. The stage is also the largest yet, featuring an expanded dance floor and 360-degree viewing.
Across all stages, K says that his goal for the fifth anniversary is “More art and fan interactive experience, more like a festival, strive to be like a Tomorrowland, as budget grows to add more experience.” Last year’s Project GLOW alone drew 40,000 attendees over two days.
K, however, was not satisfied with one festival this spring. GLOW recently announced a “pop-up” one-day event. Teaming up with Black Book Records, GLOW is set to throw a first-of-its-kind dance-music takeover of Pennsylvania Avenue, N.W., headlined by electronic music star Chris Lake. Set for April 18, this euphoric block party will feature bass and vibes blocks from the White House. Organizers expect as many as 10,000 fans to attend. Beyond music, there will be food, activations, and plenty of other activities taking place around 6th St and Pennsylvania Ave NW – a location familiar to many in the LGBTQ community, as this sits squarely inside the blocks of the Capital Pride party that takes place in DC every June.
Over the past two decades, Club GLOW has produced thousands of events, from club nights to large-scale festivals including Project GLOW, Moonrise Festival, and more. Club GLOW also operates Echostage.
a&e features
New book celebrates 1970s dance music icons
‘A Night at the Disco’ features interviews with Donna Summer, Debbie Harry, more
If you’re a fan of 1970s-era dance music, don’t miss the irresistible new book by Christian John Wikane and Alice Harris, “A Night at the Disco,” which revisits more than 90 interviews conducted with some of the biggest names in pop culture.
“A Night at the Disco” (ACC Art Books) was published on March 24, and distributed by Simon & Schuster. It celebrates more than 100 artists who sparked a phenomenon in dance music from 1970-1979 and features excerpts from interviews with everyone from Donna Summer to Debbie Harry.
Lost City Books (2467 18th St., N.W.) will welcome author Christian John Wikane for a book signing and conversation about “A Night at the Disco” on Thursday, April 16 at 6 p.m. Details at lostcitybookstore.com. Bird in Hand Coffee & Books in Baltimore (11 E. 33rd St.) )will also host a Q&A with the author on Wednesday, April 15 at 6 p.m. Details at theivybookshop.com.
Below is an excerpt from “A Night at the Disco.”
“I’ll let in anyone who looks like they’ll make things fun.” Steve Rubell is guiding a New York Times reporter through Studio 54 as resident DJ Richie Kaczor dazzles the crowd with records by CHIC, Odyssey, and T-Connection. “Disco, that’s where the happy people go,” The Trammps sing as dancers spin and twirl underneath tubes of flashing lights. Seven months since Rubell and co-owner Ian Schrager opened Studio 54 in April 1977, it’s welcomed untold numbers of “happy people” … at least those lucky enough to pass through the doors.
“We were part of the chosen few,” says André De Shields, who immortalized the title role in The Wiz on Broadway at the time. “We could show up at Studio 54 and the doorman at the velvet stanchion would look over everyone and point to us from The Wiz to come in, that kind of thing.” As the lead vocalist in the GRAMMY-nominated Dr. Buzzard’s Original Savannah Band, whose debut modernized big band sophistication for the discothèques, Cory Daye had carte blanche in the club. “The energy was like a New Year’s Eve party every night,” she says. “I would go up to the mezzanine and watch the mechanical light pillars go up and down, metallic confetti falling from the ceiling, the spoon and the moon. I was so fascinated and enamored by it.
“When a certain song came on, the people would just rush to the dance floor. There was no contact dancing — the hustle was pretty much on its way out — but it was just an amazing experience to see all the cultures together. It was a fusion of cultures, which described my life and my band, so I was right at home there.”
“Studio 54 was the place,” adds Linda Clifford. “Crazy parties. If you could think it, you would see it. It was like a circus. Just an amazing place to be. I worked 54 so many times. It was like a second home to me. The people there treated me so well. The crowd always seemed to enjoy my show. I always had a good time with them. That was the most important thing: making sure that they had fun.”
Well before Studio 54 opened, disco had become a business juggernaut. “A four billion dollar market and still growing,” Billboard announced in February 1977, with dance music offering more variety than ever. “There is no longer a single, readily identifiable disco beat, but a kaleidoscope of sounds that are melodic and danceable,” Tom Moulton told the magazine. In the clubs, records by veteran artists like Stevie Wonder and the Bee Gees were mixed in with a range of new acts like Grace Jones, Boney M., and The Ritchie Family, while everyone from ABBA to Marvin Gaye scored number one pop hits with songs that had club-centric storylines.
Beyond the charts, disco itself remained as idiosyncratic as ever, especially on several productions by Laurin Rinder and W. Michael Lewis, whose studio creations, El Coco (“Let’s Get It Together,” “Cocomotion”) and Le Pamplemousse (“Le Spank”), joined their own “Lust” from Seven Deadly Sins (1977) among the most tantalizing releases on AVI Records. Rinder & Lewis also produced acts for the newly hatched Butterfly Records in Los Angeles, where Saint Tropez (“On a Rien à Perdre”) and Tuxedo Junction (“Moonlight Serenade”) reflected the duo’s high gloss sound, spanning everything from European sophistication to a more literal translation of the ’40s sensibilities popularized by Dr. Buzzard’s Original Savannah Band.
12-inch singles had also grown as the preferred format to approximate the club music experience at home. Nearly a year after Atlantic Records introduced its series of promotional 12-inch singles for DJs, New York-based Salsoul Records released the industry’s first commercially available 12-inch single, “Ten Percent” by Double Exposure, in May 1976. A year later, T.K. Records was the first label to certify a gold record for a 12-inch single when Peter Brown’s “Do You Wanna Get Funky With Me” tallied one million sales.— Christian John Wikane
(From “A Night at the Disco” by Alice Harris & Christian John Wikane. Published by ACC Art Books.)
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