/items/browse/page/2?featured=1&output=atom <![CDATA[Explore 91ÊÓƵ]]> 2025-03-14T01:56:13-04:00 Omeka /items/show/14 <![CDATA[Howard Street Bridge]]>
The proposal to extend Howard Street north started to build support in 1923 with the organization of the Howard Street Association but without any funding the idea languished for over a decade. Finally in the late 1930s, thanks to a $32,000,000 investment in Baltimore's New Deal work relief programs, construction began. The first steel girders for the bridge swung into place around midnight on December 16, 1937 to "avoid tangling traffic on the Baltimore and Ohio, Pennsylvania, and Maryland and Pennsylvania railroads" whose tracks ran along the valley below. Baltimore Mayor Howard W. Jackson presided over a ground-breaking ceremony on July 15, 1937 throwing the first shovel of dirt with a spade after the "motor shovel" they had waiting unexpectedly broke down.

At a cost of $1,350,000, construction on the road extension by the Philadelphia-based Kaufman Construction Company moved quickly and by January 12, 1939, Mayor Jackson was back on Howard Street, joined by representatives from the Public Works Administration and local civic and neighborhood associations. Stretched across Howard Street near the Richmond Market (now part of Maryland General Hospital) was a ribbon, which Jackson cut then planned to "enter his automobile and drive along the extensive and over the bridge spanning Jones Falls... followed by a cavalcade of cars containing Federal and city officials and members of the Howard Street and Mount Royal Protective Associations."

The bridge caught the interest of another Baltimore Mayor one fall morning in 1974 when Mayor William Donald Schaefer drove down Howard Street and was "struck by how rusty and run-down it looked," immediately asking his Committee on Arts and Culture if they could "do something about freshening it up." The committee came up with a proposal to give the bridge a new name "Gateway to Baltimore" and a bold new color scheme worked out with assistance from Don Duncan, an artist employed by the Baltimore City Department of Planning. Fights with neighborhood residents over the color selection broke out eventually resolving with a new red paint job in the early 1980s.

Work began anew on creating a more colorful Howard Street Bridge (along with over a dozen other bridges over the Jones Falls) in the late 1980s when local artist and MICA graduate Stan Edmister conceived of the "Painted Bridges" project to create a "gateway of color" from the suburbs to downtown with support from the National Endowment for the Arts and the Baltimore Municipal Art Society. For the 15 years, city bridge painters followed Edmister's scheme painting the bridges with industrial oranges, yellows and rusty browns. Edmister explained the colors, noting, "I think the colors I choose blend with an urban environment. They make some comment about Baltimore being a postindustrial town." Mayor Martin O'Malley objected to the color selection in 2004, preferring a Kelly green but lost out to Edmister's proposal in an online poll.]]>
2018-11-27T10:33:48-05:00

Dublin Core

Title

Howard Street Bridge

Subject

Transportation
Art and Design
Great Depression

Description

Built in 1938, the Howard Street Bridge is nearly 1,000 feet long with two steel arches spanning the Jones Falls Valley. This award winning bridge (voted one of the most beautiful by the American Institute of Steel Construction in 1939) was designed by the J.E. Greiner Company, the firm established by one of the nation's foremost bridge builders John Edwin Greiner. Born in Delaware, Greiner got his start designing and building bridges for the Baltimore & Ohio Railroad until 1908 when he set himself up as a consulting engineer. The story of the bridge and the extension of Howard Street to North Avenue begins years earlier when local business leaders first began to imagine Howard Street as a major route across the Jones Falls.

The proposal to extend Howard Street north started to build support in 1923 with the organization of the Howard Street Association but without any funding the idea languished for over a decade. Finally in the late 1930s, thanks to a $32,000,000 investment in Baltimore's New Deal work relief programs, construction began. The first steel girders for the bridge swung into place around midnight on December 16, 1937 to "avoid tangling traffic on the Baltimore and Ohio, Pennsylvania, and Maryland and Pennsylvania railroads" whose tracks ran along the valley below. Baltimore Mayor Howard W. Jackson presided over a ground-breaking ceremony on July 15, 1937 throwing the first shovel of dirt with a spade after the "motor shovel" they had waiting unexpectedly broke down.

At a cost of $1,350,000, construction on the road extension by the Philadelphia-based Kaufman Construction Company moved quickly and by January 12, 1939, Mayor Jackson was back on Howard Street, joined by representatives from the Public Works Administration and local civic and neighborhood associations. Stretched across Howard Street near the Richmond Market (now part of Maryland General Hospital) was a ribbon, which Jackson cut then planned to "enter his automobile and drive along the extensive and over the bridge spanning Jones Falls... followed by a cavalcade of cars containing Federal and city officials and members of the Howard Street and Mount Royal Protective Associations."

The bridge caught the interest of another Baltimore Mayor one fall morning in 1974 when Mayor William Donald Schaefer drove down Howard Street and was "struck by how rusty and run-down it looked," immediately asking his Committee on Arts and Culture if they could "do something about freshening it up." The committee came up with a proposal to give the bridge a new name "Gateway to Baltimore" and a bold new color scheme worked out with assistance from Don Duncan, an artist employed by the Baltimore City Department of Planning. Fights with neighborhood residents over the color selection broke out eventually resolving with a new red paint job in the early 1980s.

Work began anew on creating a more colorful Howard Street Bridge (along with over a dozen other bridges over the Jones Falls) in the late 1980s when local artist and MICA graduate Stan Edmister conceived of the "Painted Bridges" project to create a "gateway of color" from the suburbs to downtown with support from the National Endowment for the Arts and the Baltimore Municipal Art Society. For the 15 years, city bridge painters followed Edmister's scheme painting the bridges with industrial oranges, yellows and rusty browns. Edmister explained the colors, noting, "I think the colors I choose blend with an urban environment. They make some comment about Baltimore being a postindustrial town." Mayor Martin O'Malley objected to the color selection in 2004, preferring a Kelly green but lost out to Edmister's proposal in an online poll.

Creator

Eli Pousson

Curatescape Story Item Type Metadata

Story

Built in 1938, the Howard Street Bridge is nearly 1,000 feet long with two steel arches spanning the Jones Falls Valley. This award winning bridge (voted one of the most beautiful by the American Institute of Steel Construction in 1939) was designed by the J.E. Greiner Company, the firm established by one of the nation's foremost bridge builders John Edwin Greiner. Born in Delaware, Greiner got his start designing and building bridges for the Baltimore & Ohio Railroad until 1908 when he set himself up as a consulting engineer. The story of the bridge and the extension of Howard Street to North Avenue begins years earlier when local business leaders first began to imagine Howard Street as a major route across the Jones Falls.

The proposal to extend Howard Street north started to build support in 1923 with the organization of the Howard Street Association but without any funding the idea languished for over a decade. Finally in the late 1930s, thanks to a $32,000,000 investment in Baltimore's New Deal work relief programs, construction began. The first steel girders for the bridge swung into place around midnight on December 16, 1937 to "avoid tangling traffic on the Baltimore and Ohio, Pennsylvania, and Maryland and Pennsylvania railroads" whose tracks ran along the valley below. Baltimore Mayor Howard W. Jackson presided over a ground-breaking ceremony on July 15, 1937 throwing the first shovel of dirt with a spade after the "motor shovel" they had waiting unexpectedly broke down.

At a cost of $1,350,000, construction on the road extension by the Philadelphia-based Kaufman Construction Company moved quickly and by January 12, 1939, Mayor Jackson was back on Howard Street, joined by representatives from the Public Works Administration and local civic and neighborhood associations. Stretched across Howard Street near the Richmond Market (now part of Maryland General Hospital) was a ribbon, which Jackson cut then planned to "enter his automobile and drive along the extensive and over the bridge spanning Jones Falls... followed by a cavalcade of cars containing Federal and city officials and members of the Howard Street and Mount Royal Protective Associations."

The bridge caught the interest of another Baltimore Mayor one fall morning in 1974 when Mayor William Donald Schaefer drove down Howard Street and was "struck by how rusty and run-down it looked," immediately asking his Committee on Arts and Culture if they could "do something about freshening it up." The committee came up with a proposal to give the bridge a new name "Gateway to Baltimore" and a bold new color scheme worked out with assistance from Don Duncan, an artist employed by the Baltimore City Department of Planning. Fights with neighborhood residents over the color selection broke out eventually resolving with a new red paint job in the early 1980s.

Work began anew on creating a more colorful Howard Street Bridge (along with over a dozen other bridges over the Jones Falls) in the late 1980s when local artist and MICA graduate Stan Edmister conceived of the "Painted Bridges" project to create a "gateway of color" from the suburbs to downtown with support from the National Endowment for the Arts and the Baltimore Municipal Art Society. For the 15 years, city bridge painters followed Edmister's scheme painting the bridges with industrial oranges, yellows and rusty browns. Edmister explained the colors, noting, "I think the colors I choose blend with an urban environment. They make some comment about Baltimore being a postindustrial town." Mayor Martin O'Malley objected to the color selection in 2004, preferring a Kelly green but lost out to Edmister's proposal in an online poll.

Street Address

1800 N. Howard Street, Baltimore, MD 21217
]]>
/items/show/7 <![CDATA[Harlem Theatre]]>
The new Methodist Episcopal Church was a short-lived venture marred by two destructive fires that led to its eventual abandonment. On December 22, 1908, the building was almost destroyed in a fire. Repairs were completed to the point where the congregation could continue to use the building until a more severe fire in 1924. On April 3, a fire destroyed the church, and the building was abandoned. This was also the period when the demographics of the neighborhood were shifting from predominately white to predominately African-American. The Methodist Episcopal Church was a predominately white congregation, so the change in demographics may have impacted the decision to abandon the church.

In 1928, the title for the church was officially transferred to Emanuel M. Davidove and Harry H. Goldberg, who resold the property to their company the Fidelity Amusement Corporation, formed for the purpose of building "a 1,500 seat motion picture theatre for Negroes to be known as Harlem Theatre." The company hired architect Theodore Wells Pietsch, a notable Baltimore architect who also designed Eastern High School and the Broadway Pier. Pietsch took the property's history into consideration when designing the new building: the theatre was made fireproof through the use of steel and concrete, and a fire extinguishing system was also included in the building's design.

Like the church it replaced, the theater was designed as an ornament and a spectacle. The building's decorative theme, inspired by Spanish architecture, was considered the most elaborate on the East Coast, and the theatre was promoted as "the best illuminated building in Baltimore." The bright, decorative facade included a 65-foot marquee with 900 50-watt light bulbs to illuminate the sidewalk underneath, as well as "tremendous electric signs" around the marquee and a forty-foot high sign that could be seen from two miles away.

The opening weekend for the theatre in October 1932, is notable because of the significant celebratory events planned to mark the grand opening. The theatre was introduced "in a blaze of glory," in a grand opening that drew crowds of 5,000 to 8,000 people. The jubilant scene was described by a journalist:

"The blazing marquee studded with a thousand lights made the entire square take a semblance of Broadway glamour. The marquees illuminated the entire Harlem Square which was crowded with those who lined the sidewalk unable to gain admittance."

A parade was held in tribute to Theodore Wells Pietsch and the construction of the theatre. The parade was both photographed and filmed, and the resulting film was shown at the theatre the next week.

After a successful opening, the theatre remained open for nearly forty years. Baltimore citizens remember the theatre with "cavernous three-story high ceiling, a balcony, carpeted floors and thick cushioned seats" and "Å“celestial ceiling with twinkling electrical stars and projected clouds that floated over movie-goers' heads." There are also records of community events, such as a free "Movie Jamboree" in 1968 for the children of Baltimore workers donated by the theatre's then-manager Edward Grot, and midnight shows to raise money for the local YMCA. However, the theatre remained segregated throughout is existence and went into decline by the late 1960s.

By the mid-1970s, the Harlem Theatre was closed. In 1975, it was purchased by Reverend Raymond Kelley, Jr. with the intention of turning it into the Harlem Park Community Baptist Church. Refurbishment included replacement of theatre seats with pews, and removal of the marquee. On July 6, 1975, the new church was dedicated. The building continues to be used by the congregation of the Harlem Park Community Baptist Church today.]]>
2018-11-27T10:33:48-05:00

Dublin Core

Title

Harlem Theatre

Subject

Entertainment

Description

The Harlem Park Theatre was originally built as a church for a congregation that had outgrown the size of their existing building. Construction on this Romanesque-style building on Gilmore Street began in the summer of 1902. The building had a Port Deposit granite edifice and was considered aesthetically modern at the time of construction, designed to be an ornament in the neighborhood.

The new Methodist Episcopal Church was a short-lived venture marred by two destructive fires that led to its eventual abandonment. On December 22, 1908, the building was almost destroyed in a fire. Repairs were completed to the point where the congregation could continue to use the building until a more severe fire in 1924. On April 3, a fire destroyed the church, and the building was abandoned. This was also the period when the demographics of the neighborhood were shifting from predominately white to predominately African-American. The Methodist Episcopal Church was a predominately white congregation, so the change in demographics may have impacted the decision to abandon the church.

In 1928, the title for the church was officially transferred to Emanuel M. Davidove and Harry H. Goldberg, who resold the property to their company the Fidelity Amusement Corporation, formed for the purpose of building "a 1,500 seat motion picture theatre for Negroes to be known as Harlem Theatre." The company hired architect Theodore Wells Pietsch, a notable Baltimore architect who also designed Eastern High School and the Broadway Pier. Pietsch took the property's history into consideration when designing the new building: the theatre was made fireproof through the use of steel and concrete, and a fire extinguishing system was also included in the building's design.

Like the church it replaced, the theater was designed as an ornament and a spectacle. The building's decorative theme, inspired by Spanish architecture, was considered the most elaborate on the East Coast, and the theatre was promoted as "the best illuminated building in Baltimore." The bright, decorative facade included a 65-foot marquee with 900 50-watt light bulbs to illuminate the sidewalk underneath, as well as "tremendous electric signs" around the marquee and a forty-foot high sign that could be seen from two miles away.

The opening weekend for the theatre in October 1932, is notable because of the significant celebratory events planned to mark the grand opening. The theatre was introduced "in a blaze of glory," in a grand opening that drew crowds of 5,000 to 8,000 people. The jubilant scene was described by a journalist:

"The blazing marquee studded with a thousand lights made the entire square take a semblance of Broadway glamour. The marquees illuminated the entire Harlem Square which was crowded with those who lined the sidewalk unable to gain admittance."

A parade was held in tribute to Theodore Wells Pietsch and the construction of the theatre. The parade was both photographed and filmed, and the resulting film was shown at the theatre the next week.

After a successful opening, the theatre remained open for nearly forty years. Baltimore citizens remember the theatre with "cavernous three-story high ceiling, a balcony, carpeted floors and thick cushioned seats" and "Å“celestial ceiling with twinkling electrical stars and projected clouds that floated over movie-goers' heads." There are also records of community events, such as a free "Movie Jamboree" in 1968 for the children of Baltimore workers donated by the theatre's then-manager Edward Grot, and midnight shows to raise money for the local YMCA. However, the theatre remained segregated throughout is existence and went into decline by the late 1960s.

By the mid-1970s, the Harlem Theatre was closed. In 1975, it was purchased by Reverend Raymond Kelley, Jr. with the intention of turning it into the Harlem Park Community Baptist Church. Refurbishment included replacement of theatre seats with pews, and removal of the marquee. On July 6, 1975, the new church was dedicated. The building continues to be used by the congregation of the Harlem Park Community Baptist Church today.

Creator

Elise Hoffman

Curatescape Story Item Type Metadata

Story

The Harlem Park Theatre was originally built as a church for a congregation that had outgrown the size of their existing building. Construction on this Romanesque-style building on Gilmore Street began in the summer of 1902. The building had a Port Deposit granite edifice and was considered aesthetically modern at the time of construction, designed to be an ornament in the neighborhood.

The new Methodist Episcopal Church was a short-lived venture marred by two destructive fires that led to its eventual abandonment. On December 22, 1908, the building was almost destroyed in a fire. Repairs were completed to the point where the congregation could continue to use the building until a more severe fire in 1924. On April 3, a fire destroyed the church, and the building was abandoned. This was also the period when the demographics of the neighborhood were shifting from predominately white to predominately African American. The Methodist Episcopal Church was a predominately white congregation, so the change in demographics may have influenced the decision to abandon the church.

In 1928, the title for the church was officially transferred to Emanuel M. Davidove and Harry H. Goldberg, who resold the property to their company the Fidelity Amusement Corporation, formed for the purpose of building "a 1,500 seat motion picture theatre for Negroes to be known as Harlem Theatre." The company hired architect Theodore Wells Pietsch, a notable Baltimore architect who also designed Eastern High School and the Broadway Pier. Pietsch took the property's history into consideration when designing the new building: the theatre was made fireproof through the use of steel and concrete, and a fire extinguishing system was also included in the building's design.

Like the church it replaced, the theater was designed as an ornament and a spectacle. The building's decorative theme, inspired by Spanish architecture, was considered the most elaborate on the East Coast, and the theatre was promoted as "the best illuminated building in Baltimore." The bright, decorative facade included a 65-foot marquee with 900 50-watt light bulbs to illuminate the sidewalk underneath, as well as "tremendous electric signs" around the marquee and a forty-foot high sign that could be seen from two miles away.

The opening weekend for the theatre in October 1932, is notable because of the significant celebratory events planned to mark the grand opening. The theatre was introduced "in a blaze of glory," in a grand opening that drew crowds of 5,000 to 8,000 people. The jubilant scene was described by a journalist:

"The blazing marquee studded with a thousand lights made the entire square take a semblance of Broadway glamour. The marquees illuminated the entire Harlem Square which was crowded with those who lined the sidewalk unable to gain admittance."

A parade was held in tribute to Theodore Wells Pietsch and the construction of the theatre. The parade was both photographed and filmed, and the resulting film was shown at the theatre the next week.

After a successful opening, the theatre remained open for nearly forty years. Baltimore citizens remember the theatre with "cavernous three-story high ceiling, a balcony, carpeted floors and thick cushioned seats" and "Å“celestial ceiling with twinkling electrical stars and projected clouds that floated over movie-goers' heads." There are also records of community events, such as a free "Movie Jamboree" in 1968 for the children of Baltimore workers donated by the theatre's then-manager Edward Grot, and midnight shows to raise money for the local YMCA. However, the theatre remained segregated throughout is existence and went into decline by the late 1960s.

By the mid-1970s, the Harlem Theatre was closed. In 1975, it was purchased by Reverend Raymond Kelley, Jr. with the intention of turning it into the Harlem Park Community Baptist Church. Refurbishment included replacement of theatre seats with pews, and removal of the marquee. On July 6, 1975, the new church was dedicated. The building continues to be used by the congregation of the Harlem Park Community Baptist Church today.

Street Address

614 N. Gilmor Street, Baltimore, MD 21217
]]>
/items/show/5 <![CDATA[Upton]]> 2019-03-19T16:33:08-04:00

Dublin Core

Title

Upton

Subject

Architecture

Creator

Elise Hoffman

Curatescape Story Item Type Metadata

Story

High on a hill at 811 West Lanvale Street, behind a chain link fence and past the overgrown yard, is the grand Upton – an architectural treasure by one of Baltimore's earliest architects that has witnessed nearly 200 years of change in the Upton neighborhood that shares the building's name. In the 1830s, Baltimore lawyer David Stewart hired architect Robert Carey Long, Jr. – or so we think, no confirmation of Long as the architect has survived – to design his country villa. R. Carey (as he liked to call himself) was one of Baltimore's first professionally trained architects designing the Lloyd Street Synagogue (now part of the Jewish Museum of Maryland), the Patapsco Female Institute in Ellicott City, and the main gate of Green Mount Cemetery among more than 80 buildings across the country. Son of a Baltimore merchant who armed seven schooners and two brigantines as privateers during the Revolutionary War, Stewart became a prominent local lawyer and got involved in politics, serving a brief month as a US Senator in 1849.

The mansion is widely recognized as the last surviving Greek Revival country house in Baltimore. It remains secluded in urban West Baltimore, sitting high above the neighboring buildings and surrounded by brick and stone walls. In the mid-nineteenth century, you would have seen a grand porch with Doric columns and ironwork bearing the Stewart family crest. Inside the building, you could have observed more than a dozen marble and onyx fireplaces, a main entrance hall, a curved oak staircase, and a banquet room that was so large it has since been divided into multiple rooms. David Stewart enjoyed entertaining guests in his mansion and hosted lavish, indulgent parties there so frequently that he developed gout.

After Stewart's death in 1858, the house was purchased by the Dammann family, who owned the house for so many generations that it became known as "the old Dammann mansion." The family left in 1901, and the house found itself empty for the first time, but not the last. The mansion's next owner, musician Robert Young, took a cue from David Stewart and used the spacious and opulent mansion to host "several brilliant social affairs where hundreds of guests moved about in the spacious rooms." Young would be the last owner to use the building as a home, and his time there was short-lived – he found the house too drafty and abandoned after less than 3 years.

The commercial life of the Upton mansion began in 1930 when one of Baltimore's first radio stations, WCAO, moved into the building. Extensive alterations were made to accommodate WCAO – tall twin radio towers were installed at the edge of the property, walls were torn down and rooms partitioned off to create studios and equipment rooms. The next commercial venture in Upton came in 1947, when WCAO sold it to the Baltimore Institute of Musical Arts. Founded by Dr. J. Leslie Jones, the school was originally opened with the intentions of creating a parallel program to that offered at Peabody, a renowned music school not open to African American students at the time, and at its height in the early 1950s had over 300 students. The school eventually closed in the mid-1950s after desegregation granted black students equal access to public music schools. In 1957, the Baltimore City School System moved in to the building and used it first as the special education "Upton School for Trainable Children No. 303," and then the headquarters for Baltimore City Public School's Home and Hospital Services program. Unfortunately, Upton has sat empty since BCPS left in 2006.

Upton has a rich cultural legacy that extends beyond its use as a social hot spot, a radio station, and a school. In the 1960s, the mansion was chosen as the community namesake during an urban renewal project going on in the neighborhood at the time. As a physical landmark of the neighborhood for more than a century, the Upton mansion's name was intended to serve as "the symbol of a physical and human renewal in West Baltimore."

Despite its presence on the National Register of Historic Places and the Baltimore Landmark List, the city-owned building remains empty and unmaintained in west Baltimore. In 2009, Preservation Maryland included in on a list of the state's most endangered historic places, and the building is threatened by vandalism and neglect. Today, the mansion awaits a new owner, someone willing to restore the beautiful building to its historic potential.

Street Address

811 W. Lanvale Street, Baltimore, MD 21217
]]>
/items/show/2 <![CDATA[Battle Monument]]> 2020-10-16T11:44:30-04:00

Dublin Core

Title

Battle Monument

Subject

War of 1812
Public Art and Monuments

Creator

Johns Hopkins

Curatescape Story Item Type Metadata

Story

Construction on the Battle Monument began on September 12, 1815, a year to the day after Baltimore soundly defeated the British in the War of 1812, and the monument endures as a commemoration of the attack by land at North Point and by sea at Fort McHenry. In addition to serving as the official emblem for the City of Baltimore on the city flag, the work is extraordinary in the history of American monument building for a number of reasons. Architecturally, it is considered to be the first Egyptian structure in the United States with a base, designed by French-born architect Maximilian Godefroy, to look like an Egyptian sarcophagus. The base sits on 18 layers of marble, symbolizing the 18 states that then belonged to the Union. The main column is of Roman design and depicts a fasces: a bundle of rods held together with bands in a symbol of unity. In an age when the United States had few public monuments at and when war memorials focused on generals and commanders, the Battle Monument stood out for its focus on the common soldier recognizing all 39 of the fallen soldiers, regardless of their rank, in a ribbon of names spiraling up the central shaft. Italian sculptor Antonio Capellano created Lady Baltimore — one of the oldest monumental sculptures in the country. She wears a crown of victory on her head and holds a laurel wreath in her raised hand as a symbol of victory over the British. In her lowered hand, she holds a ship's rudder as a testament to Baltimore's nautical role in the war. Both arms are now prosthetics after having been blown off in storms. Both also were created by well-known Baltimore artists. The raised hand with the wreath is the work of Hans Schuler, and the lowered hand with the rudder is by Rueben Kramer. The same year that the monument was adopted as Baltimore's emblem, it also helped give rise to the city's nickname as "The Monumental City." In 1827, President Adams visited Baltimore and stayed at a nearby hotel. The Battle Monument had been completed and work was underway for the nation's first public monument to President Washington in "Howards Woods," soon to become the Mt. Vernon neighborhood. At a dinner with dignitaries and veterans from the war, President Adams gave the final toast of the evening: "Baltimore, the Monumental City: may the days of her safety be as prosperous and happy as the days of her danger have been trying and triumphant!" Baltimore's new monuments made an impression on the President, and enough to spark a name that has lasted nearly 200 years.

Watch our on this monument!

Related Resources

Street Address

101 N. Calvert Street, Baltimore, MD 21202
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