{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://marmia.aviaryplatform.com/iiif/dz02z1413t/manifest","type":"Manifest","label":{"en":["The Showcase of Talent 1987, 1987-12-14"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/053/original/cropped-marmia-logo-copy1.png?1586173104","metadata":[{"label":{"en":["Source Metadata URI"]},"value":{"en":["https://marmia.libraryhost.com/repositories/2/archival_objects/5272"]}},{"label":{"en":["Date"]},"value":{"en":["1987-12-14 (Creation)"]}},{"label":{"en":["Description"]},"value":{"en":["On tape label: City Line #206 (Container Summary)","Be advised that this video may contain sensitive, triggering, and offensive language and content. (Content warning)","Digitized with funding provided by the Council on Library and Information Resources' \"Digitizing Hidden Special Collections and Archives: Amplifying Unheard Voices\" grant program. (Funding note)","Talent show performers include Camara Kambon, Vincent Cook, Louis Hawkins, Warren Wolf, Jr., Thomas Miller, Rita Crews, Jerris Cates, and John Lamkin and Company. (Scope and Content Note)"]}},{"label":{"en":["Format"]},"value":{"en":["1 U-matic"]}},{"label":{"en":["Identifier"]},"value":{"en":["WJZ-CTYLN-008-003 (Identifier)"]}},{"label":{"en":["Series Title"]},"value":{"en":["City Line"]}}],"summary":{"en":["On tape label: City Line #206","Be advised that this video may contain sensitive, triggering, and offensive language and content.","Digitized with funding provided by the Council on Library and Information Resources' \"Digitizing Hidden Special Collections and Archives: Amplifying Unheard Voices\" grant program.","Talent show performers include Camara Kambon, Vincent Cook, Louis Hawkins, Warren Wolf, Jr., Thomas Miller, Rita Crews, Jerris Cates, and John Lamkin and Company."]},"provider":[{"id":"https://marmia.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["MARMIA"]},"homepage":[{"id":"https://marmia.aviaryplatform.com/","type":"Text","label":{"en":["MARMIA"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/053/original/cropped-marmia-logo-copy1.png?1586173104","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/206/303/small/thumbnail_206303_1709833182.jpg?1709815195","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303","type":"Canvas","label":{"en":["Media File 1 of 1 - open-uri20230817-483-cbrz8k.mp4"]},"duration":3334.04,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/206/303/small/thumbnail_206303_1709833182.jpg?1709815195","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/content/1","type":"AnnotationPage","items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-marmia.s3.wasabisys.com/collection_resource_files/resource_files/000/206/303/original/open-uri20230817-483-cbrz8k.mp4?1692279371","type":"Video","format":"video/mp4","duration":3334.04,"width":640,"height":360},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303","metadata":[]}]}],"annotations":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937","type":"AnnotationPage","label":{"en":["AUTO_TRINT_WJZ-CTYLN-008-003.mp4 [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's 12 noon. This is City Line. Hi, I'm Jackie. And I'm Betty Bentley. I think we're going to have to step aside and give up our stage, but it's for a good reason. It's City Line, second annual talent showcase, Baltimore. We're going to introduce you to some of the area's most promising stars. There are people to look out for. In 1987, a seven year old percussionist, a comedian, artist, poet, tap dancer and a classical singer. It's an entertainment extravaganza. It's our second annual talent showcase right here on Baltimore City Line. Good afternoon and welcome. Baltimore to City Lines 1987 talent showcase people to look out for in 1987. And thank heavens it's an annual event. And we can highlight some of the fabulous talent in our area. And I think right now is just a perfect time for it. You know, it's halftime or in between and Christmas. New Year's is coming up and we can really sit back and enjoy, I think, what's going to be some fantastic talent and we've got some fantastic talent up here with us as well. That's right. Monty or Harold Anthony, who is some of those great name folk we're going to meet today. Well, we have a young pianist here. And matter of fact, this guy was the first talent that was introduced to me when I came to City Line, a fellow named American Campbell. He was fabulous four years ago, and he's got an even greater now. We have a young fellow who's just barely able to reach his instrument, but he's been playing for years also. So we're highlighting a few young folks. We also have a fellow who might be familiar to anyone who's frequent at any of the Fells Point restaurants. He's a street performer and he'll be tap dancing for us and show us how he tap danced his way into the hearts of Baltimore.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=69.71,195.71"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Audiences will look forward to that. And any other folk that you can think of, none of Vincent is here today. Yeah, that's right. And it's going to prove to be an exciting show as the first annual talent show. Well, I think it's about time that we put the stage over there where we've got some of this great talent. And right now we'd like to introduce you to our first performer. And his name is Camilla Cambone. Can I meet you? Good to meet you. You're absolutely fantastic. I was thinking a little bit before we went on. You've been playing for how long? Ten years. Ten years. And you are now 13. What did you do before? To reach the pedals. I mean, when you're three years old, you couldn't reach the pedals because, you know, I couldn't. To tell you the truth, I really don't know what I did. I really don't know. Is this something that you plan to pursue professionally? Yes, I do. Hopefully, I would tend to be a part of the ECM Jazz production record company. So I hope that hopefully I'll be working with Keith Jarrett and Chick Corea and people like that. All right. So some good company? Yeah, some good company. Are you doing a crossover That is a you do classical in jazz? Yeah, I do all types of music, but basically I am I categorize myself as a jazz musician. That's what I'm striving for in life. Tell me about this piece you just played. Well, that was called I Love You, and I wrote that for my uncle. I missed him a lot, so I wrote it for him as a beautiful piece. And it was a pleasure to meet you. Good luck to you. Thank you.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=196.16,525.07"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"All right. We're going to be back in just a minute with a lot more talent. The comedian coming up to stay with us. There's a lot more to come. You're back in City Line and with City Lines Challenge Showcase 87. I'm with Vincent Cook, who is a local comedian. Welcome to City nine. Thank you very much. Glad to be here. Yeah. Now you're a Washingtonian who has transplanted to Baltimore. Are the audiences here better? Well, no, I'm not going to say that. I'll just say that, you know, because I won't start a fight between Baltimore and Washington coming down here. I'll be going there. No, it's not a bad audience. It's just more exposure here. Washington is small and Baltimore is big. So that's that's how you're looking at it. Yeah. Have we received you well? Very well. Very well, I would say. What do you normally perform in the area? Oh, the Lyric Theater and the Meyerhoff. I stand in for a lot of the entertainment that comes into town, so to speak. Now, tell me about your recent situation where they called you at the last minute to do a 45 minute routine when the Four Tops did not show? Well, what that basically happened, I was in, um, I was in New York City, and the Four Tops didn't show up or something like that. I don't know, have maybe some kind of band got sick and they wanted something else to eat or some more money. Some, I don't know. Whatever the case, they, you know, call me and say, Vincent, come on down, man. You know, do a little bit and we'll give you the pot of money. So I said, I'll be there for people money. Hey, Jack, I'll be there, you know.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=525.58,641.96"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But it was not a hostile audience. Oh, no, They weren't hostile at all. They were very quiet. I was the Four Tops. I sang and danced for him. So, you know, Bernadette, you know, I did the whole bit. Okay. How long have you been telling jokes and getting laughs? Well, I'm alive and, uh, professionally. Five years. Okay, We're going to put you to the test right now on City Lines Talent Showcase. Vincent Cook, thank you very much. I do a lot of flying. And when I'm flying, I always think to myself at this plane crash, the only thing on Survivor, that black box now know about you. But personally, this is the way I feel about it. Why don't the people who make the black box make a plane out the same stuff, or at least have one on board big enough so everybody get inside it? Now, that makes a lot of sense to me. I think a lot of them go down because some people don't tell the truth. Some go wrong. Captain, come on. This your captain speaking. The left wing of this plane has just fell off. But we're going to land safely at Baltimore-Washington International Airport. And you read about them. If a brother did, it'd be kind of different. Take Eddie Murphy on a plane. Some go wrong. Oh, okay. You're about to wake up. This plane is going down. Don't go survive the black box. Oh, by the way, this is a recording. And they tell you to let you know what's going on. Jack, They don't mess around. This is a lottery town, though, that's found out Baltimore has the biggest lottery, $2 million lottery every year. And like when the space shuttle blew up, people was gone.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=642.68,712.55"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Space shuttle blew up. What time I blow it, man 1139. Play that number, man. It's a lottery. No, play that number. No. People were doing that. You know, just something that happened. I don't know. You know, You know, someone found out a man or a woman can have a beautiful relationship, but jealousy can break it up. It can like a man on the street, a nice looking woman coming by. He go. The woman said, I saw what she was doing. Don't do stuff like that. But ladies do it too. They just a little bit more slick about it. Nice looking guy. Go back. Is that, Charles? I think I went to school with him. Not really sure. Look, just like him. That's doesn't get you in trouble. It really can. You know, somebody who's making a lot of mistakes now and a lot of people getting on him. Reagan, Jack, he is, you know, the way Reagan now he come out, look over his shoulder lot of times now because, you know, people get in on him, he comes out, watch him, he goes, you know, he make mistakes. Mr.. Uh. Well, go right ahead with the first question. Mr. Reagan, what are you doing about the situation in South Africa? South Africa. Next question, please. I don't know. You know just something about him. Sugar Ray Leonard is walking back into the ring. A lot of people ask him, Sugar, why are you coming back against bald headed Marvin Hagler? Well, you must see this here. All here's the thing now, I love punching people in the head. They have a ball here. It's something personal. Our our walk out now and punch you in the head if you had a ball here. Thank you very much, Sugar Ray Leonard.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=713.15,792.71"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ali, do you think sugar will win the fight? Well, first of all, I want to say I'm raised by a rose. And Joe Frazier was the greatest athlete in Rome. And I won't fight them. Hammer rule the world. Thank you very much, Mohammad Ali. You know something? I found out like you don't really see that many brothers do on a black American Express commercial. Do you only see brothers doing it? Check this out. That's the way it goes now. First brother doing the American Express commercial. Hi. You know me. I guess not. That's why I carry somebody else's American Express card. I travel all around at somebody else's expense. That's right. When you leave home without it, I got somebody else's American Express card. You don't see that many monsters living in any black neighborhoods, do you? Marshall and Black neighborhood E.T. two brothers on the corner Talk about unemployment. Yeah, I mean, unemployment. So I'm no don't know what I'm gonna do about it. Oh, that's you, man. Hey, man, I told you, Leave them drugs alone. Man, Look at your hand. Going got. Now, come on, Walk with me, man. We're going to just think up a damn program. I'm telling you, it happens all the time. Are you driving down I-95? Be careful who you pick up because you know, there's some crazy people out there. One time I walked in and I was driving down and I saw a guy out there. He was hitchhiking past my badge, dropped. Who got it? Where are you going, man? D.C. get it? I thought I asked the question. Hey, so where are you going, man? And where are you coming from? Baltimore State Penitentiary. I got nervous. Jack and I started asking questions.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=793.1,868.79"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"What was in it for? Murder. Play crazy in that situation. He asked me a question. Where are you going? Where are you coming from? State mental hospital. What were you in there for? Recon call 100 miles an hour. Vincent Cook. Vincent Cook, We appreciated you. You are good. Thank you very much. We're going to keep an eye on you and 87. And please come back and visit us again. We'll do it. Okay. Now to Montel is in the next studio with another person to watch in 1987. Thank you, Jacqui. And the person to watch in 1987, if you can appreciate, Talent of the soul, Talent of the Feet, tap dancing is Lewis Hawkins Jr, better known as the Welcome to City Line as one of our talented look out for 487. Okay. How long have you been practicing now? For 55 years. And I've been out with all the big bands. I understand you've been with some pretty impressive names. Who are some of the people that you facing? Buddy Rich and all out big bands mean in all three parts and they all the Elephant Shell and then all the clubs up in Boston where some of the places you've worked. I know that you can be seen here in Baltimore or even in New York or a feeling in Washington, the Wrigley Field in Chicago. There you see it. And then. In Philly, you tap dance your way through many cities, many cities. How did you get started tap dance? Well, I learn all the time on dawn. But dance she dance and everybody is had to do in the lower level. Well, we want you to give us a sample of your talent. We want you to show us some of your dancing techniques that have made you sort of a famous little person who sat down with Patti Page.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=869.32,981.29"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Okay, go for it. Let. Very good. But you also want to see where are you performing? Around town. All different places. I know I've seen you several times here at Phelps, John's even. Okay, well, we're looking out for you. Okay. Congratulations. Don't go anywhere. And don't you go anywhere. We'll be right back with more of City Line's talent Showcase 87. No. Ladies and gentlemen, this is not an old table for you, as this is Baltimore's own worn wolf worn. Welcome to city life. Thank you. Okay. How old are you when you look mighty small to be knowing this much about this instrument? Seven years old. And how long have you been playing? Since I was a baby. Since you were a baby? Well, you're not far from that right now. I noticed when we first came out, we had a set of drums which were not yours, and they were a little high. Could you play the drums, too? Yes. And what other instruments do you play? Piano. And the. Oh. How did you get started on all these instruments before? And where's your father now? At a piano. At the piano? Right behind you. So how instrumental was he in getting you to play to where you outside play? And he said, Come on in and play with me one day. Or did you just take it on your own to join him to do it? Okay. Did you go to school? Yes. Where do you go now? Elementary school, 88. And you also attend another school, Peabody. And you have to be probably the smallest kid there. Yes. Who plays the bass, You or your dad? Hmm. Okay. You're going to prove it with another number for us right now, aren't you? Okay.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=981.65,1346.84"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ladies and gentlemen, he is Warren Wolf. You look a little winded after that performance. Are you nervous being on TV? No. Have you performed before in front of people? Yes. What are some of the places you perform? At these big programs, big programs. A lot of people there are that they all stand up after you guys finish playing summer, as they did here today in the studio. Do you have any brothers and sisters want to do them? Do they also play instruments? One of them. Just call my sisters. One of your sisters, that is she older or younger than you? She. Oh, well, what do you like the best? Going outside, playing or playing these instruments here? Glass and how often do you spend practicing on your instrument? Oh. Monday to Wednesday, I went out and saw Lisa for 2 hours. And you don't like Saturdays and Sundays that much? A lot. Well, it pays off definitely, because you are definitely a child prodigy. And we were a little unfair to you by saying, watch for you in the eighties, We should watch for you in the eighties and nineties. And on and on and on. We'll be right back with more of the City Line holiday talent showcase right after these important messages. Stay tuned. Talk about talent in our area and we have some of the best on city lines Talent Showcase 87, no question, like no other place in Baltimore. Next, we turn our attention and our eyes to Tom Miller, artist. Tom, we were told that your artwork is described as Afro deco. Please explain. Well, I got that. Term from two African students, one from Zaire and one from Nigeria. And I met them and they decided after seeing my show, that's what my work should be called.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=1347.23,1638.79"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I decided to keep that label. Okay. Tell us how that's appropriate to what you do. Well, it's appropriate because black people all over the world are doing. Lots of work that is very similar. Even though I'm working in Baltimore, I have, uh. There's another artist somewhere else doing something that might be very similar to what I'm doing here. There's a steady thread. Of creativity that runs through all of the work. Now you have a very interesting choice of objects to work with or on. I don't know how you describe it. All right. Tell us a little bit about some of the pieces you have with you. Well, this piece right next to me is a canvas floor covering. And most people would probably want to put it hang it up and they can use it as a hanging, but. I have a lot of references to animals that you would see an ad for. Well, it's only one animal there that's alligator. And but I happen to like alligators a lot. They they they look very friendly. The what? The piece in the front is an alligator box, isn't it? Yes, it is. Tell us how you how you approach that and what you did with that. Well, I wasn't happy with just having a box. It had to have things added on to it. I wanted to do something to the surface of the object, and I added, uh, brass screws. I did things to the surface of the box with paint. I even added little tiny wheels for eyes. That box was originally. What? Well, it was actually. You probably had one. A shoeshine. Okay. Okay. What about the table on the far end? That's what I'm taking with me. I love it.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=1639.36,1748.12"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, the table on the far end was actually a discarded piece of junk, and, um, even stripped down to its natural Woody would be a really beautiful piece of furniture. But I decided to give that piece of furniture another life by adding my own touches. And, uh, uh, pattern on top of pattern really activates the surface of the object. And then I have the fish on the top of the object swimming that particular fish swimming one way, and then the one underneath is swimming counterclockwise. So similar to the theme of pieces. Very, very similar. Now, what about the is the piece next to it Quite similar to that far, far table in? In some ways it is. Uh, there are a few different things. I'm, I have a preoccupation with time and, uh. This particular piece that we're talking about does have a clock that has been inserted inside of the sun. And we know when the sun rises and it goes down the time and also that little dot that is on top of the table, I created a whole environment so people can move the duck around. They can change the piece of artwork at will. Now, you brought slides with you as well. Yes, I did get some of those so that we get a sense of some additional pieces that you've worked on. If we can go to those now, can you describe those for us? Yes, I think most people would be familiar with this particular type of thing. It at one time it was a wardrobe. Wardrobe? Yes. Okay. It has been painted inside and out. And it's it started out as a very ordinary piece, but adding pieces onto it, I was able to change the wardrobe. Now, most of your pieces seem to be, for the most part, functional.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=1748.88,1872.24"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I mean, not just works of art. They're usable works, right? Yes, it is functional. This is another wardrobe armoire and a beautiful piece of furniture to even to start with. But with the addition adornment of paint and other things, I've changed it into something else. So most of you use oils. Sometimes I use whatever paint will do the job. Okay. Now, is there ever a time when Tom Miller simply says enough is enough with this piece? Sometimes it's okay, but the more you put on, the better. But, you know, it gives the feeling. And, you know, this is not a put down. It gives a feeling of primitive art, whether you were in Mexico or Africa or the Caribbean or whatever. It has the feeling of primitive art. Well, yes, it might have a feel. And we're going to use that label because there's no other label to use. There are a lot of black artists and a lot of artists are from these different cultures. You talked about who? The people. Yes. Yes. But they would disagree with the label primitive. Okay. So a little bit about Tom Miller. You are. Your works are shown or can be seen where, oh, my works can be seen at G Doll Chalmers. And I'm very happy to be associated with that gallery. And I'm also a graduate student at the Maryland Institute of Art, and I'll be graduating in May. Right. I mean, anything else? Uh, I just had my thesis show. I'm a Ford Foundation, uh, recipient in the Ford Foundation. Grant, by the way, started at the Maryland Institute of Art. And it is something to help visual artists further their careers. And I was very lucky to, uh, receive one. Okay. Anything coming up? Easy, designers? Or do you have any other shows coming up? Um, well, right now I'm at Alzheimer's, and we're thinking about taking some work to Chicago.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=1872.78,1994.33"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I will have my own show. The show at Doll Showroom is now. It's a group show, but I will have my own show in June. Great. Fantastic. We look forward to seeing that. Good. Thank you very much. We'll be back with more of City Line showcase of Talent 87. And we go now to a team on tier with another talent to watch in 87. Thank you, Jacki. And I'm here with a young writer. And your name is Rita Townsend Cruz, Rita Townsend, Cruz and Rita, you are a poet. What is your definition of poetry? A poetry. Expresses the innermost feeling that one has deeply inside. And how would you describe your poetry? Well, my poems describe feelings that I have inside of me at particular times. I see that through looking at some of your poetry. Your poems are rather short. In other words, you get right to the point. How long have you been writing? I have been writing for about five years. About five years ago, my marriage went sour. And rather than do anything absurd, I put all of my energies into writing poems. And you've found a very constructive outlet for doing that. Why don't you give us a sampling of your reading and we'll talk a little further? Gladly. The first poem is entitled. The physician in Los Angeles. I visited a young man in Los Angeles who sincerely stated, I am the Prince of Darkness. He and I can no longer keep company or assert together, for I am a child of the light. My second poem is entitled Feeling. A feeling is arising deeply inside a choking, almost suffocating sensation which overpowers my being and makes me shiver. I fight, but it's winning controlled. It makes me listen to love songs.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=1995.74,2128.48"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"My third poem is entitled Joy and Pain. Julia is meeting a new man. It's like going into a clean house with every piece of furniture in order. Pain is knowing the man. It's like going into an untidy house. We'll clothes on the floor. And my fourth poem is entitled. I never loved no, man. I never love no man from the grocery boy. To the teacher's son. From the college bomb to the state politician. From the Venezuelan musician to the Canadian writer. And now that I have a son I never love no man. Very good. Very good. Thank you very much. I do believe you are first city line poet. Do you do readings around town? No, I have not done any recently. I'm a school teacher at Dunbar Middle School, so that takes up most of my time. We should mention that also several of your poems will be included in the National Poetry Anthology and the American Poetry. Good luck. What would you like to see your poems go? Would you like to do with them? I would really like to become a well-established writer. Do you have any writers that you look up to that you've been influenced by? Yes. I enjoyed the works of Emerson, Thoreau, Shelley. I love all of them. We wish you much success in 1987. And we'll be right back with more City Line. Our 1987 talent showcase. So please stay with us. And welcome back from where a City Lines talent showcase, 1987. I'm here with Miss Jeffries. Kate. You're an operatic singer. Where do you get your training? Well, I'm now a student at Peabody Conservatory of Music, and I've been studying there for a year now. A year and a half. Okay. I take it you want to sing professionally? Yes, I would love to.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=2132.67,2306.15"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Wants to stick with operatic singing? Yes, I think so. At least to start with. You have a favorite piece? Well, today I'll be performing a model. Okay. I'm not sure I know the translation, but I'm going to let you and your accompanists download SHAPIRO. Is that correct? Then I'm sorry. Daniel SHAPIRO and Jerry's kids go to it. She. Put. A beautiful. Kudos mustering be. Minimal. Oh. Three. Oh, you did. Oh, Jamie. Oh. They told me, Oh, Lord in Susie. Oh, but. You didn't know what you were. You. David. Mark, you. Would. People don't know what. What? Two. Oh. Oh. Board. You. You know. Maybe you need a lot of people. Conservative. Welcome back to more of Starliners Talent Showcase, 1987. We had a lot of great entertainment and we've got some more coming up right now. And we introduce you to one of Baltimore's busiest musicians, John Lambkin. Welcome to City Life. Pleasure to be here. Tell us a little bit about you and John Lampkin in company. Well, I have assembled a really fine band here tonight, this afternoon. We've been doing a lot of playing in the area. We've been doing a lot of different things. I have a new album out on the market now. The title of the album is Hot, so it's just pleasure to be here to play some. All right. Well, while he's hot, let's hear right now John Lampkin in company. And. As the John Lampkin and company. You know, the best part about City Line's talent showcase each year is that we get an opportunity to hear some of the best talent in the area. And it's fabulous, right? We've heard some great talent today And saw some great talent. Indeed. Well, one thing we can promise you for 1987, a brand new year.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=2306.72,3076.76"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Some of the best, the biggest, the tallest, the shortest ever. But we're going to bring it the most creative and we will bring it to you every Sunday at noon. Now, as we end the old year and as we look forward to the new Year, we've got to give the city Line family resolutions. And whether you like it or not, you must promise what you promised for 1987 to keep my resolutions that I made in 1986 when I was. But truthfully, though, I think that I'll be involved in some interesting projects. I'm looking forward to a productive, prosperous and healthy 1987 and with some improvements, 86, as I said, last week wasn't the best year for me, but 87 hopes and promises. And I'm looking forward to that. And we wish you you we wish you the best of all of those that you've wished for yourself. Well, 86 was a great year for me and maybe a little bit too great. I spend too much time away from my family and I hope to make amends for that during 1987. Get closer to my family. How beautiful I was. Real good. Okay. Be this my turn. My turn. So I guess about the only thing I can say about 1987 is that I'm going to make it a good year. I've decided that as opposed to waiting for something good to happen, I'm going to make it a good year. Well, I have said that since 1980. I'm going to just ditto that for 1987. I don't have any new resolutions. Well, no, I won't say that. Yes, I have one new resolution, and that is to grow stronger in my faith. That's what I want to do in 87. Uh, and our resolution is to provide improved programing and to provide topics and explore topics we haven't before with our audience, to give them better TV, better and better, better and better.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=3077.45,3187.61"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we couldn't have scripted that better. So from all of us to all of you, happy New Year to you and may you each get your wish. In 1987. I'm Betty Bentley. I'm Jackie Hall. I'm to Monte, you and Harold Anthony. And then we'll go 47. Yes. And we'll go out hearing again the fine music of John Lumpkin and company.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=3187.91,3211.61"}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/transcript/48937/annotation/18","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/048/937/original/open-uri20230817-2849-y9kq04?1692287534","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/048/937/original/open-uri20230817-2849-y9kq04?1692287534"}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/index/82692","type":"AnnotationPage","label":{"en":["The Showcase of Talent 1987, 1987-12-14 03-07-2024 17:37 [Index]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/index/82692/annotation/19","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Talent","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=0.0,569.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/index/82692/annotation/20","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Camara Kambon, Pianist, Composer","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=0.0,569.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/index/82692/annotation/21","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Talent","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=569.0,904.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/index/82692/annotation/22","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Vincent Cook, Comedian","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=569.0,904.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/index/82692/annotation/23","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Talent","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303#t=904.0,1219.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105545/file/206303/index/82692/annotation/24","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Louis Hawkins, Dancer; 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