Living

Curating the canon

Feinstein keeps standards alive with passion for mid-century gems

Published

15 years ago

April 14, 2011

Michael Feinstein concert
7 p.m. Sunday
Kennedy Center Concert Hall
presented by the Washington Performing Arts Society
Tickets $40-$75
202-785-9727 or wpas.org

Ol’ blue eyes is back. And Feinstein’s got him.

Michael Feinstein, that is, the multi-platinum selling, five-time Grammy nominee. The cabaret-style interpreter not only of Sinatra but also Cole Porter and Irving Berlin and Richard Rodgers, the composer famous for his work with two separate lyricists, Lorenz Hart and Oscar Hammerstein III.

And a raft of others — especially the Gershwins — in the canon of Americana’s classic popular music, a genre that Feinstein himself, at a youthful 54 (still slender and boyish and with a legendary million-dollar smile) has done so much to keep alive.

(Photo courtesy of Washington Performing Arts Society)

He’s been called “the ambassador of the great American songbook” and married his partner Terrence Flannery in a 2008 ceremony officiated by Judge Judy (Judith Sheindlin).

And he’s back keeping the Sinatra legend alive. It started on his 2009 album “Sinatra Project.” It will continue during his Sunday night concert at the Kennedy Center Concert Hall.

“I’m doing Sinatra for sure on Sunday,” Feinstein says. “But it’s reminiscence, not a copy, because its folly to copy him.”

The show will be “very high-energy,” says Feinstein, “with new big band arrangements, a tribute to Nelson Riddle,” the longtime American arranger and bandleader who worked with Sinatra as well as Judy Garland, Peggy Lee, Rosemary Clooney and so many other vocal stars of the mid-20th century. And it will be fllled, he says, “with anecdotes about Sinatra’s life and career, which lasted from his beginnings as a swing-era idol of “bobby-soxers” in the 1940s, through his Capitol Records albums like the legendary “In The Wee Small Hours” and “Only the Lonely,” and then the master of top 40 hits, and later his Rat Pack years with Dean Martin and other Hollywood B-listers in the “Ocean’s 11” film — a tribute to his long-time base as a headliner in Las Vegas clubs until his death in 1998.

Feinstein has famously taken a classic song, “We Kiss in a Shadow,” the weepy old chestnut from Rogers and Hammerstein’s “The King and I,” where two clandestine lovers yearn “for one smiling day to be free,” and rendered the ballad of exquisite sexual longing as an appeal for same-sex marriage rights. He sings it in a duet sung, gazing into each other’s eyes — with Cheyenne Jackson, also gay, the 35-year-old heart-throb from the 2007 Broadway musical “Xanadu” and the Elvis Presley sound-alike on stage in 2005 in “All Shook Up.”

Feinstein and Jackson, also a series regular in both Fox’s “Glee” and NBC’s “30 Rock,” performed together in the show “The Power of Two,” in 2009 at Feinstein’s at Loews Regency on New York City’s swanky East Side.

Though they each have their own partners, Feinstein and Jackson elicit sparks when duetting.

At one point, during “We Kiss in a Shadow,” they turn to each other and exult, singing together “behold and believe what you see.” And audiences did. Timed for the debate in New York State over marriage equality, Feinstein and Jackson were sending a powerful message to the uber-powerful folk who saw their show, but they did it with badinage and playful patter, realizing that if you want to “send a message, call Western Union,” don’t put on a show.

In that same show, light of heart and packed with so much pizzazz, the two of them, each with matinee-idol looks and dressed dapperly in matching black suits, white shirts and black ties, the two shared the spotlight with buddy songs like “I’m Nothing Without You,” from the show “City of Angels.” But in solos Feinstein brought his own low-melting-temperature vibrato to Cole Porter’s “So In Love” from “Can Can,” and also threw in some hilarious impersonations, mimicing Paul Lynde and Carol Channing. He also sat at the piano and crooned another anthem, this one written directly to advocate for LGBT rights, Marshall Barer’s and Mickey Leonard’s “The Time Has Come,” written as a response to the Stonewall riot.

Feinstein’s roots are, of course, in cabaret, that musical genre that mixes Tin Pan Alley with Broadway show tunes and also the ambience of Weimar Republic gay-friendly precincts of Berlin’s “kabarett” in the 1920s. As Feinstein sees it, “American Idol’s” former viper-tongued wicked-witch-judge Simon Cowell, is totally wrong-headed when he habitually denounces anything he thinks sounds old-fashioned as “cabaret.”

Where did it all begin for Feinstein, this passion for the greatest American classic popular songs? In the American “middle-west” heartland of Columbus, Ohio, where he was born in 1956, the son of an amateur tap dancer (his mother) and a Sara Lee Corporation sales executive (his father). He credits his parents as “for exposing me to this music,” in a way he compares to the Suzuki method of teaching the young to play the violin by ear, “before they even know it’s music,” he says.

At age 5, he studied piano (still his instrument today) for several months with a teacher who sought in vain to get him to read sheet music and was angered when he didn’t since he was simply more comfortable playing by ear. His mother backed him up and took him out of lessons allowing him to learn to love music in his own way. By his teenage years, he says, “I had already diverged from my age group in taste.” When his sister listened to Carole King’s album “Tapestry,” he says that he was collecting 78s. As for the Beatles, he says he is not overly impressed. Ge calls “Yesterday,” for instance, “a great melody, but it’s a bad lyric, maudlin at best, a good song wasted.”

After finishing high school, he worked in local piano bars for two years and then moved to Los Angeles when he was 20. There he soon met June Levant, widow of the legendary concert pianist-actor Oscar Levant, and through her he was introduced to Ira Gershwin, who hired young Feinstein to catalogue his extensive collection of phonograph records. This assignment led to a six-year assignment working at Gershwin’s Beverly Hill home, preserving the legacy not only of Ira but also that of his composer brother George, who had died four decades earlier. From there he got to Gershwin’s next-door neighbor, singer Rosemary Clooney, with whom Feinstein formed a close relationship lasting until her death in 2002.

In 1986, Feinstein recorded his first CD, “Pure Gershwin,” followed soon by “Remember,” featuring the music of Irving Berlin” and later he embarked on his ambitious “songbook project,” where he would perform the music of a featured composer — such as Jule Styne and Jerry Herman — accompanied by the composer. Later, he would record two other albums of Gershwin’s music, “Nice Work If You Can Get It” and “Michael and George.”

“I’ve spent my life immersed in this music,” he says of all these composers and lyricists and their songs standards, “out of love for it, not even thinking about a career.” These songs are, he says, “are still pertinent to our times.” He wants “to keep the music alive for other generations,” a project that took major form in January when the Feinstein Foundation-funded $150-million Center for the Performing Arts, where he is artistic director, opened in Carmel, Ind. The complex includes a 1,600-seat concert hall plus smaller venues and houses his Foundation for the Preservation of the Great American Songbook, including also a library and archives storing his and other collections of rare recordings, orchestrations, sheet music and other cultural artifacts about songs.

Today, he is the owner of the Manhattan nightclub, Feinstein’s at the Regency, a showcase for cabaret performers, where he performs himself in sold-out shows every Christmas. He also has an interest in Feinstein’s at the Shaw, in London. Recently he completed a six-part Warner Home Video series for television that depicts the history of the American popular song through 1960. He is also finishing a book about Gershwin’s music as well as working with producer Marc Platt (“Wicked”) on a movie project about the composer’s life. And on top of all that, he directs a newly launched pop music series at Jazz at Lincoln Center in New York City, where he and his partner live (they have a second home in Los Angeles).

Next up, either this autumn or maybe early next year will be an updated version of his PBS series, “Michael Feinstein’s All American Songbook,” which aired on the network last fall. He says they are now filming three more segments which will be broadcast with the first three and linked to a new and growing website available at no charge which the show’s executive producer and historian Ken Bloom has called “the ultimate companion for the documentary” and “a guide for the 21st century.” He calls it a “goldmine” where browsers can click on any song or performer for further information, plus audio and video links to their work.

For the past two years, Feinstein himself has also sponsored through his foundation the Great American Songbook High School Academy and Competition, a master class and contest for teenagers in seven midwestern states — in events attracting hundreds of entries. The winner gets a free trip to New York City and an opportunity to sing at his nightclub there.

For Feinstein one thing is clear. This music will thrive, he says, “because it never went away.”

For more info on Feinstein and his many recordings and diverse projects, go here.

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Real Estate

D.C.’s housing reality: Cautious optimism meets landlord strain

Cost of living remains a major problem

Published

3 days ago

June 7, 2026

Scott Bloom

(Photo by sparky2000/Bigstock)

Washington has long prided itself on stability. Anchored by the federal government and buoyed by a highly educated workforce, the District has historically weathered economic uncertainty better than most cities.

But beneath that stability, cracks have been showing since January 2025.

I was having a conversation with a prospective client the other day and offered him a candid assessment of the District’s economic outlook. Simply put, structural challenges have been shaping the city’s future, a new mayoral election, and more that blends cautious optimism with clear concern about the changes ahead.

For one, the long-term shift toward remote and hybrid work continues to reshape the city in ways many people still underestimate. There has been a change in the rhythm of downtown D.C., reduced daytime foot traffic for local businesses, and created uncertainty for commercial real estate owners and the neighborhoods that depended on those workers every day.

At the same time, the cost of living in the District continues to rise at a pace that many residents are struggling to absorb. Even residents with strong incomes are becoming more cautious about spending and relocation decisions.

Landlords are feeling those pressures as well. Many smaller housing providers are operating in an environment where expenses continue to rise faster than revenue while the regulatory environment has grown increasingly complex. For some rental owners, especially those with older buildings or only a few rental units, the math is making it harder to cover costs, much less generate passive income.

There is also growing concern about the District government’s own financial outlook. Significant budget pressures and spending cuts are being had in a more serious way than many Washingtonians are used to hearing. As uncertainty in federal employment affects local tax revenue and consumer confidence, how will the city fund services, infrastructure, housing programs, and public safety priorities in the years ahead?

At the same time, consumer confidence feels noticeably down than it did even a few years ago. People are taking longer to make decisions, whether that means signing a lease, purchasing a home, renovating a property, or expanding a business. That hesitation creates a slower-moving marketplace where caution often replaces momentum.

Despite all this, Washington has proven remarkably resilient over time. The city continues to attract talented professionals, international investment, universities, healthcare institutions, and industries tied to government, law, technology, and public policy. Neighborhoods continue to evolve, and demand for well-managed rental housing remains strong in the core areas of the city.

Unlike other major cities driven by private industry, federal employment and contracting are two of the main pillars of Washington’s economy. That reliance has long insulated the region from deep recessions. But it also creates vulnerability when federal activity slows.

D.C.’s economy is far more interconnected and interdependent than many people fully appreciate. Between significant federal layoffs, the District’s high unemployment rate, and broader economic uncertainty, there are a number of warning signs that property owners should be paying close attention to. When federal hiring slows or contracts tighten, the impact extends well beyond government workers themselves. It affects restaurants, retail, housing, and countless other sectors tied to the District’s economic activity.

Brookings Institution has documented how job losses in higher-income sectors can disproportionately impact urban economies—precisely because those workers drive local spending.

Research from the Urban Institute supports this view, noting that federal workforce disruptions can quickly ripple through the region’s economy. For landlords and renters alike, those ripples are already being felt. Renters see many more properties on the market which gives them leverage on negotiating discounts in rent or special incentives. Housing providers, already squeezed by the reality of a weak economy and strong regulations face lowering rents and income.

For years, affordability has been one of D.C.’s most persistent challenges. Much of that pressure has been driven by strong job growth and sustained demand for housing at a pace that new housing inventory has struggled to match. That imbalance has steadily pushed rents and home prices higher, leaving many residents financially stretched.

Recent multifamily housing data suggests the market is already beginning to adjust. Developers delivered more than 15,000 apartment units across the Washington metropolitan area over the past year, and several industry reports have noted that elevated supply levels, combined with slower demand growth, have contributed to softer occupancy levels and downward pressure on rents in portions of the region. CoStar, CBRE, and Northmarq have all reported rising vacancy rates across segments of the D.C. multifamily market as newly delivered Class A inventory continues entering the pipeline at a time when hiring growth has moderated and federal workforce uncertainty has increased.

At the same time, several economists and housing analysts have cautioned that the District’s affordability challenges are deeply structural and unlikely to disappear quickly. The Joint Center for Housing Studies of Harvard University has repeatedly identified Washington among the nation’s more cost-burdened metropolitan areas, particularly for renters, while Zillow data continues to show housing costs consuming a substantial percentage of household income for many residents.

From my own perspective as a property manager working directly in the market every day, I believe we are beginning to see the early stages of a market recalibration rather than a collapse. Anecdotally, there appears to be more competition among larger apartment buildings than there was several years ago, particularly in neighborhoods where substantial new inventory has recently delivered. That does not necessarily mean dramatic rent declines are coming, but it does suggest that the imbalance between supply and demand may be moderating somewhat after years of sustained upward pressure on pricing.

Even if prices soften, affordability will remain a long-term challenge.

Regulation and the Realities of Tenant Turnover

The same rental owner I spoke with pointed to regulatory hurdles as a major source of hesitation to continue renting out his property, given past bad experiences with tenants and excessive costs to prepare the rental for a new tenant.

For many small property owners, the cumulative weight of regulation, maintenance costs, and market uncertainty is becoming harder to bear. Clients of mine have described feeling overwhelmed, not just financially, but emotionally. What was once a source of pride has, in some cases, become a source of stress.

We’re seeing more small landlords sell their rental homes, questioning whether it’s worth staying in the market. That’s a significant shift from even five or ten years ago. The National Multifamily Housing Council has noted that regulatory complexity often disproportionately impacts smaller landlords, who lack the resources of larger firms.

Some are choosing to sell. Others are simply trying to hold on. The result is the same – less rental housing for DC residents.

A Shift From Pride to Disillusionment

Perhaps the most striking theme is the emotional shift described by the property owner. For some, owning property in D.C., once a milestone achievement, has become a source of disillusionment. They cited financial losses, regulatory frustration, and a growing sense of political alienation.

There are also broader concerns about:

The decline of small multifamily ownership
Rising foreclosures in certain segments
Increased consolidation by larger institutional landlords

If small landlords continue to exit the market, it changes the entire housing ecosystem. You lose diversity in housing options, and that can have long-term consequences for affordability. It also robs families of having homes large enough to live in.

Politics and Policy: A System at a Standstill?

The political environment has obviously been a key factor shaping the city’s housing future. Following the 2026 elections, a lack of significant leadership change may result in continued policy stagnation.

Without meaningful policy shifts, we’re likely to see more of the same: continued and increasing pressure on landlords and not enough study and focus on policies to increase housing supply by first stopping those property owners fleeing the District’s extreme tenant friendliness. The D.C. City Council remains central to these decisions, with advocacy groups continuing to push for expanded tenant protections. The importance of balance cannot be understated: ensuring protections for renters while maintaining a viable environment for housing providers.

Taken together, these dynamics point to a housing system at a crossroads.

D.C. must find a way to balance:

Tenant protections
Housing affordability
Landlord sustainability
Long-term investment in housing supply

What’s Next?

D.C. isn’t going anywhere. The question is how it adapts. If we can find the right balance, there’s a path forward, but it’s going to take time and thoughtful policy decisions. For landlords, that path will require adaptability and engagement. For renters, it may mean gradual rather than immediate relief. For policymakers, it presents a clear challenge: create a system that works for everyone.

Scott Bloom is owner and senior property manager of Columbia Property Management. Contact him via ColumbiaPM.com.

Real Estate

Introducing Next-Generation Assisted Living & Memory Support.

Now Available in Tysons: Kokua at The Mather

Published

2 weeks ago

May 28, 2026

Autos

A magical Mercedes

S-Class continues to define what luxury really means

Published

3 weeks ago

May 23, 2026

Joe Phillips

Mercedes S-Class

At my stage of life — “somewhere between 40 and death,” as the iconic line goes in the musical “Mame” — I want some pampering. A lot of pampering.

Luckily, for anyone who constantly craves a soothing spa, steam room or sauna, there’s the completely updated Mercedes S-Class. This flagship sedan is now so full of glitz, glamour, and gee-whiz gadgetry, it gives new meaning to the term “auto erotica.”

Does this make the S-Class a “gay” ride? For me, any vehicle that pushes my buttons like this one is a Kinsey 6.

MERCEDES S-CLASS

$122,000 (est.)

MPG: 21 city/31 highway

0 to 60 mph: 4.3 seconds

Trunk space: 19 cu. ft.

PROS: Exceptional comfort. Ultra-quiet cabin. Cutting-edge safety.

CONS: Price climbs fast. Tech learning curve. Sportier competitors.

The S-Class continues to define what luxury really means, with a bolder silhouette, larger grille, and striking, next-gen LED headlights. There’s also an optional illuminated Mercedes star on the hood. Overall, nearly 2,700 parts are new or improved, so more than 50 percent of this vehicle has been updated. An extreme makeover, to be sure.

At the same time, this latest S-Class leans harder into intelligence and electrification than ever before. Under the hood, a range of turbocharged inline-six and V8 engines — paired with mild-hybrid systems — deliver power in a way that seems almost edited for smoothness. Braking is solid and strong, too, but never abrupt. All the engineering is fine-tuned and intentional.

Yes, the top-of-the line S580 version is more expensive, almost $140,000. But it’s also blisteringly fast, zipping from 0 to 60 mph in just 3.9 seconds. That’s as lickety-split swift as a Lamborghini Revuelto supercar, which has a starting MSRP of $610,000 and can easily exceed — yowza! — $800,000.

Colors? There are 150 to choose from for the exterior and 400 for the interior. You can even customize the illuminated door sills, interior stitching and wheel accents.

And the ride quality? Sublime. Adaptive air suspension reads the road constantly, leveling out imperfections before they even register. Rear-axle steering enhances maneuverability, making this full-sized sedan feel surprisingly nimble in tight spaces. On the highway, the S-Class simply glides like a private yacht on the calmest of seas — extremely quiet, composed and completely unbothered.

Whenever you slide inside, the cabin immediately sets the tone. A massive OLED digital display — the same high-def technology used for cinematic viewing and gaming monitors — anchors the dashboard, running the latest MBUX infotainment interface. Highly customizable, this software allows for advanced voice commands that feel natural, not forced. And an augmented-reality navigation system takes your route and overlays it onto live camera feeds. It’s intuitive — mostly, as there is a learning curve for all this cutting-edge gear. Overall, though, such amenities make older setups feel like dial-up internet.

A Burmester surround-sound stereo is available in 3D or 4D, with up to 31 speakers, 1,690 watts and tactile transducers in the seats that vibrate and pulse with the music. Those seats are, of course, extremely comfortable. And the seatbelts? These are now heated.

Let’s not forget the latest cabin air-filtration system, which can remove ultra-fine particles to deliver air quality that rivals medical environments. Clean air, yes, but even this seems like a special treat. It’s like being swaddled in couture, not ready-to-wear.

And lastly, there’s the rear-seat area, which — to be honest — is where the S-Class really shines. Executive packages offer multi-contour reclining seats with rapid heating and ventilating, heated armrests and massage functions. You can opt for a footrest, which ups the glam factor to give you a calf massage. Dual 13.1-inch display screens come with their own remote controls. There’s also a video-conferencing feature, to help transform the rear cabin into a fully connected mobile office. For me, it feels less “back seat” and more “private lounge.”

Even in fiction, high-tech luxury carries weight. Tony Stark helped cement the idea that state-of-the art vehicles can be aspirational, not just practical. The magical S-Class fits right into that narrative — minus the flying suit (for now).