Peter Zahorecz (April 25, 1965 – June 4, 2006)

By Bret McCabe (Baltimore City Paper, 6/14/2006)

To the many local artists, musicians, and writers who call Peter Zahorecz a friend, he was an irreplaceable force of nature. To anybody who doesn’t recognize the name, you’ll probably recognize the face as one of the most genuinely friendly people you ever had the pleasure of coming across at concerts, art openings, events at the 14 Karat Cabaret, or just out and about. The slim, easily approachable man somehow magically retained his disarming, boyish good looks through his years, charms surpassed by his gracious demeanor and omnivorous intellect. The creative output of Zahorecz, who passed away June 4 from head-related trauma following a skateboarding accident in England, hid just as quietly in plain sight. He was 41 years old, an accomplished artist, illustrator, curator, writer, musician, general repository for aesthetic knowledge—but an even better friend, step-father to his wife DeeDee Taylor’s daughter Chelsea, and human being.

Zahorecz and Taylor were visiting London in preparation to move overseas. “It was a kind of injury that’s really rare and it was just so severe that from the beginning there was just no way,” Taylor says over the phone after returning to Baltimore June 10. “For me, it’s really important for people to know that he was so happy for weeks. Peter’s been skateboarding for 30 years. We went [to England] last year as a vacation, and this time before we went he decided he wanted to skate over there, so for weeks he was looking up all these skateboard parks. And we had gotten in on Thursday, but it was actually our first full day in England. So first thing in the morning, it’s the first thing we did.”

That impish spirit and unconditional love for doing what he wanted to do is one of the many blithe qualities that his friends, colleagues, and collaborators remember most.

Continue reading “Peter Zahorecz” at the Baltimore City Paper.

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It’s the Buzz, Hons!

Buzzcocks @ The Ottobar
Baltimore, MD
May 12, 2010


The 2010 “Another Bites” Tour

Unlike so many rock bands from the ’70s, Buzzcocks remain more than just nostalgic entertainment for aging rockers – they still maintain a sizable fan base of young devotees as well. Pete Shelley’s famous line about “Nostalgia for an age yet to come” may well refer to their ability to add new fans – across a diverse age range – to the Buzzcocks template. Case in point: the day after seeing the Ottobar show, Amy and I were having lunch at Atwater’s when our Twentysomething waiter spotted my Buzzcocks “Another Bites” t-shirt and said, “Hey, I was there last night; great show!”

The Buzzcocks sound may be rooted in late ’70s pop-punk, but as the five albums – Trade Test Tranmissions (1993), All Set (1996), Modern (1999), Buzzcocks (2003), and Flat-Pack Philosophy (2006) – that Pete Shelley and Steve Diggle have recorded under the Buzzcocks moniker since their 1981 breakup prove, it’s far from a static template (like, say, The Ramones – who picked one sound and never deviated from it, great sound though it be). While the trademark fast tempos and buzzsaw guitars are still there at the core of the sound, Shelley and Diggle have added a lot of new colors to the palette over the years, even toying with snatches of electronica at times. And a recent listen to 2006’s Flat-Pack Philosophy has resulted in me not being able to get “Credit” out of my mind – not just because it reminds me of the financial hole I’ve gotten myself in, but because it’s clever lyrics and melody could easily have fit in on Singles Going Steady from the Glory Days.


Steve & Pete: Something goes right again

This year’s edition of the Buzzcocks added a new rhythm section in the form of bass player Chris Remington (who’s played in Diggle’s solo band Flag of Convenience – and is a veritable Steve Winwood lookalike!) and drummer Danny Farrant. As with the vintage-era ‘cocks bassist and drummer – Steve Garvey and John Maher – they also happen to be the best-looking and have the best hair. (Ah, youth, there is thy sting!) The newbies replaced bassist Tony Barber and drummer Phil Barker, who had been ‘cocks from 1992-2006.


Photogenic new ‘cocks Chris (L) & Danny (R) ugly up
to try & make Dave Cawley (center) look good. They failed.

The 22-date North American “Another Bites” Tour is so named because the Buzzcocks were playing their first two albums – Another Music in a Different Kitchen (1978) and Love Bites (1978) – in their entirety, following an increasingly popular touring trend that has seen bands as diverse as Devo and Megadeath play live sets of entire classic albums, more in less in their original track order.

Continue reading “It’s the Buzz, Hons!” at Accelerated Decerepitude.

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Blaze Starr recalls burlesque era in new film

Former star of The Block is living the quiet life in W.Va.
By Frederick N. Rasmussen (Baltimore Sun, May 15, 2010)

Once the Queen of Baltimore burlesque, Fannie Belle Fleming — better known as Blaze Starr — has been living the quiet life in rural West Virginia for more than 30 years now, far away from the blinking neon signs, barkers and strippers of The Block.

The Block was her venue, where she reigned supreme for more than 20 years. She is still fondly remembered by generations of gents, sans wife or girlfriend, traveling salesmen and servicemen all out for a night on the town, and for the rose petals that she gently blew across her ample bosom to admiring audiences from the runway of her Two O’Clock Club.

“Honey, I loved it but everything has its season,” Starr said in a telephone interview the other day, not far from Twelve Pole Creek, W.Va., where she grew up in a family with 11 children.

Starr, who left home at age 15 in 1947, boarded a bus for Washington and went to work as a waitress in a doughnut shop.

Continue reading “Blaze Starr REcalls Burlesque Era in New Film” at Baltimoresun.com.

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Hustler Club’s stripper-mobile gives Camden Yards fans an eyeful

Gyrations that would make Blaze Starr blush, right there on Pratt Street

By Laura Vozzella (Baltimore Sun, April 21, 2010)

Sorry to break it to you, Baltimore. But you may have seen the last of Larry Flynt’s stripper-mobile.

The converted U-Haul truck advertising Flynt’s Hustler Club is outfitted with a Plexiglas box, sort of like the Popemobile. But this vehicle is outfitted with a stripper’s pole and a bunch of itsy-bitsy-bikini-clad dancers doing – what else? – pole dancing. It was last seen rolling around Camden Yards as a game was letting out, treating fans to more action than the Orioles seem capable of providing.

Marc Felizzi of Wilmington, Del. was leaving the ballpark with his wife and two young sons when they came across burlesque on wheels.

Continue reading “Hustler Club Stripper-Mobile” at Baltimore Sun.com.

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