The Board of Directors of the Baltimore Blues Society regrets to announce the passing of its President, Marcia Selko, who, after nearly a year-long battle, finally succumbed to lung cancer on December 17, 1999, a day before what would have been her 48th birthday.

She will always be appreciated for taking the helm of this organization at a most critical juncture, in April, 1997, when its longtime chief and founder, Dale Patton, had to relinquish his post due to personal reasons. In a most selfless initiative, she stepped in because she realized that only she had the time to devote to such an often thankless task. In a recent editorial which appeared as part of her monthly column, Blues News Near & Far, in the B.B.S. newsletter, Bluesrag, Marcia in her typical matter of factly manner revealed the rationale for her volunteerism. "It really does take someone without a job to give it the full time attention it requires, and the pay stinks. There is none."

And even Dale had to marvel at her management skills. "When she took over, she was basically flying by the seat of her pants, although the overall structure was in place. In three short years, though, she left her indelible stamp and was able to mold the society into her own image," he said in an interview.

Basically, what Marcia was able to accomplish in her short tenure was remarkable. She transformed a loosely-run, laissez-faire outfit which seemingly plodded along on its own inertia into a tight-run ship, and a profitable one at that--not an easy task considering its long, laid-back history. She even jokingly likened this everyday struggle with the running of the association to her ordeal with cancer. "Hell, I thought, if I can get the Bluesrag out on time and the treasury from red to black, this [treatment] shouldn't be that hard," she added.

"Marcia was just what the Blues Society needed," said Brad, husband and real partner for nearly 28 years. "She was meticulous down to the last detail and didn't leave anything to chance, constantly haranguing the staff to meet deadlines. Then she would worry if she hurt anyone's feelings. At the very end, she even had a hand in planning her own condolence card. That's just how she was."

It wasn't surprising that she was a good administrator because she was one of the principals in the establishment of the Contempory museum at Howard and Centre Sts in late 80s and even served pro bono publico as board member and secretary, commuting daily into town from her home in Monkton. Later in the 90s she had a similar role in the new American Visionary Art Museum on Key Highway. That she new about art and artists was without question and she wore many hats in this realm as sculptor, painter, dyer, weaver, spinner, and photographer, as prolific a designer of all manner of decoration as they come. A whole houseful of her creations bear silent testimony to her genius.

But what was amazing was that she was able to lead a blues organization, an altogether totally different animal, and keep a finger on its pulse, needs, and direction when there wasn't a whole lifetime(as was Dale Patton's) devoted to this uniquely American musical idiom. But, although she was a Johnny-come-lately in this regard, who came out of the blue, so to speak, she emerged and took the reins so naturally as if it were pre-ordained. And this is perhaps her greatest achievement. By the strength of her personality, this feisty five-foot two woman accepted this daunting challenge head-on and never quit.

Born Marcia Rosenberg in Annapolis on December 18, 1951, she moved with her family to Baltimore, where she spent her formative years. Fascinated with horses from the outset, in the late 50s and early 60s she was a familiar figure riding her pony around the Reisterstown Plaza area in northwest Baltimore, by then hardly a rural setting. "Her favorite pet was sort of a renegade," remembered Brad. "He'd often run off without her to find the greener pastures of a local synagogue," he said. In the middle 80s when the opportunity presented itself, the Selkos purchased a sprawling, restored Victorian mansion off Manor Rd in Monkton, which they christened Bradmar, a property which included an equestrian ring plus 30 odd acres. But little could they envision at the time that in less than a decade it would become the superbly ideal site for a jamboree like Hot August Blues.

After graduating from Northwestern High School in Baltimore in 1969, she went to a fashion design school in Atlanta, GA. And after her return to Charm City, she married Brad Selko on January 23, 1972. "I was going to school and living in Boston when I first met Marcia in November of 1968," recalled Brad. "She was actually dating my best friend. It must have been fate that brought us together because he tragically died in a motorcycle accident in August of '71. In less than six months we tied the knot," added Brad.

"I guess like a lot of other music lovers at the time, I became interested in the blues by listening to a lot of folk music and I probably had a head start on Marcia in the blues department. My friends have told me that I attended the Howard University[Washington, D.C.] Blues Festival in 1970," said Brad, half jokingly. For readers with short memories, it was the era of superconcerts like Woodstock and this was no exception. In fact it probably was the great granddaddy of all such blues packages and even rivaled the lineup of the fabled Ann Arbor. Spanning three full days, Howard showcased such monumental figures as Luther Allison, J.B. Hutto, John Jackson, Furry Lewis, Sleepy John Estes, Sunnyland Slim, and Howlin' Wolf. Although this huge venue was marred somewhat by an intrusive(and totally incongruous) Black Power theme, the ambitious scale of the proceedings served as a yardstick by which the Selkos later could compare their own productions, like MAMA in 1999.

"Although we went to see a lot of pyschedelic acts in the late 60s and early 70s, like Iron Butterfly or Cream and other artists who appeared at Merriweather Post Pavilion in Columbia, for example, we both had one thing in common, seeking out true roots music from blues to bluegrass and even after our kids[Gabriel and Sare] were born, we'd pack up the RV trailer and collectively head out for some destination like the Philadelphia Folk Festival in Schwenksville," said Brad. During one of these outings Marcia met the late singer/songwriter, Tim Hardin, who penned such classics as Rod Stewart's "Reason To Believe" and Bobby Darin's "If I Were A Carpenter" and struck up a close friendship. Although Marcia was not the inspiration behind his oft-recorded "The Lady Came From Baltimore," he most probably dedicated the tune to her a number of times before his untimely demise on December 29, 1980.

"Both Marcia and I had the same philosophy. The kids would always come first," said Brad, trying to explain why he and Marcia waited until much later in life to realize their dreams about putting on such extravaganzas as Hot August Blues or MAMA.

But Marcia was far from the stereotypical housewife. "Hey, this isn't about sitting around eating bon bons and watching soap operas," Marcia would often say. "I want to do something with my life." At home she would set aside a portion of the day to art, be it painting or practicing the guitar, and when she found that she was deficient in certain disciplines she'd go to school, but at night, as to always be there for the children. In order to pursue her degree in sculpture, she began attending Maryland Institute, College of Art, in the late 70s, finally graduating as valedictorian in 1983.

Also in the 80s, Marcia and Brad, although not yet full-fledged Blues Society members, would go to these club-sponsored shows held at the Famous Ballroom on Charles St. in Baltimore. One particular affair, the Buddy Guy and Junior Wells twin-bill, provided a lasting impression.

But Marcia and Brad's real baptism in the blues came on a lark, a week-long junket aboard the liner, Regent Sea, with ports of call including Tampa, Playa Del Carmen, Cozumel, Grand Cayman, and Montego Bay. Beginning December 13, 1992 the Ultimate Rhythm & Blues Cruise featured artists such as Delbert McClinton, Anson Funderburgh, Johnny Johnson, and Luther "Guitar Jr." Johnson. During the trip, Marcia and Brad got to know these artists up close and personal; so much so, that the couple forged close relationships, especially in the case of Buckwheat Zydeco(Stanley Dural), pianist Marcia Ball, and famed harp player, Charlie Musselwhite. In fact, all the individuals of the latter group eventually became headliners at the Hot August Blues festivals. After this seaboard adventure and thrill of meeting personal heroes, the Selkos signed up for nearly all those excursions thereafter, and also joined the B.B.S.

Marcia first began her career as impresario by throwing a fundraiser for the Contemporary museum in Mt. Vernon in the spring of 1993, a concert which displayed the prodigious guitar work of local legend and Black Top figure, Bobby Parker, who had appeared at the Apollo Theatre in the 50s and had recorded in the past for both the Vee-Jay and Philadelphia's V-Tone labels. In the audience was Dale Patton who was impressed with the Selkos' ability to handle the undertaking and who proposed yet another show. "I just happened to have Charlie Musselwhite available up here without a date. I knew they had met him on the cruise and might spring for a little mini-fest out in the country at their homestead. I was surprised how quickly they acted upon my suggestion," said Dale.

The first Hot August Blues was a modest endeavor with local harp player, Brett Wilson, opening for the formidable Charlie Musselwhite, but it was a financial winner. Acting prudently, the Selkos in each successive year expanded the lineup. So, as of August 1999, there were at least five major, "marquee" acts. And Brad, despite his recent terrible loss, fully intends to continue the tradition in 2000, which would mark the 8th such venture.

When asked what the highlight of the festivals might be, Brad did not have to think very long. "Marcia and I would have to agree that it had to be the summer of '97 when Kim Wilson[of the Fabulous Thunderbirds] and Rosie Ledet[zydeco] appeared. Kim had always been a friend to the B.B.S. and was awesome as usual. But we were both most proud to be instrumental in resurrecting the career of great hornman, Big Jay McNeely," he said.

Having gained much experience over the years putting on such sizable spectacles, which involved security, parking, sound, stage construction, and artist accomodations, the Selkos, with the aid of son, Gabriel, in 1999 conceived of even a more grander scheme, the MAMA--the Mid-Atlantic Music and Arts Festival-- which also entailed the headache of lining up corporate sponsors. The two-day shindig featured forty bands and four stages and was held at the Maryland State Fairgrounds in Timonium on June 19th and 20th. "We intended the proceeds to go to the Mid-Atlantic Music and Arts Foundation and thus we wanted the music to have a more universal appeal than just blues. I think our selection of groups truly reflected our tastes for various genres of American roots music," said Brad. Indeed, the roster was incredible and ranged from funk(Spyro Gyra and the Meters), to reggae(Jah Works), to jazz(Mose Allison), to ethnic(Los Lobos and Buckwheat Zydeco), and to blues(Buddy Guy, Jimmie Vaughan, Bobby Rush, Shemekia Copeland, Roy Bookbinder, and John Mooney). Although Saturday proved successful, attracting several thousand, Sunday was nearly a total washout. "We literally and figuratively took a bath on Sunday and you could have bought a house with the amount of money that the driving rain cost us," he added. But, no doubt in memory of Marcia, Brad will not be deterred in putting this mammoth MAMA together again in the summer of 2000.

There are many words to describe Marcia--sarcastic, flip, quick with a quip, spunky, and determined. For those that believe in astrology, she was born on the cusp of both Sagittarius and Capricorn, sharing the traits of both, the outgoing and friendly nature of the former and the stubborness of the latter. But close associates would all concur that generosity was probably her overriding characteristic.

Few people knew that most of the profits of Hot August Blues went right into the bank account of the B.B.S. and it amounted to nearly $40,000 over that seven-year span. While other institutions benefitted as well. But this influx of money really put the association on a higher plateau, with funds to pay for the layout of the newsletter(always a first-rate job by Joe MacLeod of the City Paper), the printer, and first class postage, to ensure prompt delivery. "We've had great responses and many sellouts at the regular B.B.S. presentations at the American Legion on Seling Avenue in Rosedale and memberships are up, but we'd be nowhere financially without the Selkos' regular cash flow," said Dale.

And even this former president, Dale Patton, will forever owe Marcia a debt of gratitude. Several years ago when he was embroiled with personal demons, she offered him a place to stay at a cottage on the premises of Bradmar, where he still resides today. "I'm not embarrassed to admit that they probably saved my life at that point and then put it back together again," said Dale, who still refers to the Selkos as "surrogate parents."

In the Sunpapers obituary, Marcia's mother-in-law, Millie Selko, remarked that "I never walked into that house where there wasn't a stranger there." Invariably, these were the artists that the Selkos entertained, with whom they jammed(Brad picked up the piano and Gabriel the drums), and some whom they just adopted.

A case in point is Larry Johnson, whom Marcia had admired since the early 70s. In fact, one of Marcia's first gifts to Brad was Johnson's August, 1970 album, Fast & Funky, on the Blue Goose label. Born in Atlanta, GA, May 15, 1938 this folk blues guitarist moved to New York where he became the protege of Reverend Gary Davis, a street singer who specialized in gospel songs. In fact, he and the preacher, who authored the classic "You Got To Move," both recorded for Prestige in the middle 60s.

In 1995, Dale Patton had received for review a CD of Larry's, Midnight Hour Blues, on Biograph with cameos by John Hammond and although both Dale and the Selkos were mesmerized by this performance, they couldn't extend an invitation to him because nobody seemed to know his whereabouts. This situation changed dramatically when the Selkos were stranded in New York for a week during the blizzard of 1996 and one evening went exploring in the West Village, stumbling upon Terra Blues, a club on Bleecker St., where the same Larry Johnson, who now lived in Harlem, had engagements twice a month. The manager even supplied a phone number by which he could be contacted.

This happy coincidence and other completely fortuitous events surrounding this search led the Selkos to believe that a Higher Authority might be guiding their hand in this matter. And they acted quickly, offering him a slot for a mere $300 on the slate of that year's Hot August Blues, along with the likes of Marcia Ball and Son Seals. For Larry at the time, it was a princely sum, and he gladly accepted. And not only that, he was so grateful for the attention that he volunteered to play at the annual Alonzo's Eat the Rich picnic concert(Labor Day weekend) for the price of a train ticket. He also reprised this appearance at the celebrated pig roast in 1997.

Then Marcia had a brainstorm. "Why don't we[the B.B.S.] buy the rights to Fast & Funky and reissue it?", she exclaimed. As Dale Patton explained in his article, she detailed a plan to sell the CD as an educational "Artist-in-Residence" program and the project would be bankrolled by proceeds from the Hot August Blues. But first, the B.B.S. would have to purchase the publishing from Don Kent of Schanchie records, a deal which was expeditiously consummated.

Amidst much fanfare and in no small measure to the diligence of Dale Patton and the Selkos, Larry Johnson's CD release party was finally launched on February 8, 1997 at the same Terra Blues. And although the weather again did not cooperate, many jazz and blues luminaries braved the elements in order to congratulate Larry on his triumph, including recording legend, Bobby Robinson(producer of Elmore James, Champion Jack Dupree, and Wilbert Harrison--Red Robin, Fire, and Fury labels), trumpeter Jonah Jones, and Sheldon Harris, editor of Blues Who's Who, who contributed the liner notes to the reissued Fast & Funky. And the next Saturday, February 15, in Rosedale Larry Johnson did an encore(in tandem with guitarist Blyther Smith) for the B.B.S. members.

In short, the Selkos took Larry Johnson under their wings and became providers, mentors, and booking agents. As a result of the newly issued CD, many doors were opening to him, both fast and furiously, especially in the festival circuit. Before 1997 was complete, Larry had already put in an appearance at the Pocono Blues Festival(PA), the New Orleans' JazzFest(also playing the House of the Blues and Louisiana Music Factory, being filmed by Sony), the Baltimore Blues Festival, the St. Louis Blues and Heritage Festival, the Kansas City Acoustic Blues Fest, the Port Townsend(Washington State) Music Workshop, and the equally prestigious King Biscuit of Helena, AK, the first of two consecutive years.

Larry Johnson was well on his way to superstardom, even recording, with the encouragement and help of the Selkos, an album's worth of new material. But things went awry as Larry became extremely difficult to manage. And the B.B.S. reluctantly had to terminate their close working relationship with him, but not before handing him a royalty check for $1500 from the sales of the CD.

But there were other artists who reciprocated their generosity, namely the New Orleans-based, Delta blues guitarist, John Mooney. Marcia could not remember exactly when they first met but he had been playing concerts for the B.B.S. as early as April of 1991. In the early and middle 90s, Marcia had guided him through a period of emotional crisis in his life and also unconditionally supported his comeback, finally landing him gigs at the 1995 Hot August Blues(with Terrance Simien), at the December, 1997 B.B.S. Rosedale show (with Johnny "Yard Dog" Jones), and at the aforementioned MAMA venue of 1999.

During Marcia's last days at Bradmar, after she had checked out of the University of Maryland Medical Center, John Mooney, and girlfriend, Cindy, who had driven all the way from the Crescent City when they heard the news, were there at her bedside ministering to her needs and serenading her to sleep. "Mooney was unbelievable. He'd not only take care of her throughout the day but also clean up the house, doing all sorts of chores," said Brad. And it was Mooney who sang and played on his acoustic guitar the three moving blues pieces at her service, including her favorite, Leroy Carr's "How Long." "I don't know how I got through them. When I was performing, I felt her hand brush across my head," he was heard to say as he stood outside the opulent Sol Levinson & Bros. funeral home in Owings Mills.

Marcia's legacy in her all too brief term as president of Baltimore Blues Society will be manifold. She succeeded in publishing the newsletter on time by establishing deadlines and she finally made the B.B.S. solvent, partly by raising the annual dues and by lobbying for donations, both private and public. During her time in office, she saw the membership rise to well above a thousand and also was able to shape the society into more of a community outreach organization, including more emphasis on a "Blues in Schools" component(which included at one time, Larry Johnson). In this regard, it also participated in functions like the annual Book Fair in Mt. Vernon, wherein the B.B.S., aided by a matching incentive grant from the Maryland State Arts Council, supplied the entertainment, the proceeds from which, in part, help to stamp out illiteracy in Baltimore.

At the last King Biscuit Festival, Marcia conceived of the idea for C.A.M.P., an acronym for Children Achieving Musical Pride, wherein she would convert the financial gains from MAMA into a program for underprivileged youth of the inner city. And at her death, the proposal was in its early stages. Indeed, it would be a fitting send off and a fine tribute if the Baltimore Blues Society could take up the torch, ensuring that her dream comes into fruition and to make of it a memorial to her magnanimous gesture.

---------Larry Benicewicz, B.B.S.