Living
Curating the canon
Feinstein keeps standards alive with passion for mid-century gems
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.
One of the biggest headaches of the new home process is the actual moving part. By the time someone is buying a home, most people are beyond the “I just need a pickup truck, a pizza and a case of beer for my friends.”
If that is still someone’s preferred way to move, that’s great. However, many people find they need a much more robust plan. It can also trigger a lot of feelings about items one owns, what to do with them, do they have too much, should I keep this memento that I never use? Etc.
Moving is a chance for a person to “clean house” literally, figuratively, spiritually and energetically. A person can figure out which items they want to keep, and which need to go. As someone who recently moved across the country, I can speak to this experience. It’s also time for what people call “the fresh start effect.” This phenomenon, according to psychologists, can happen in little moments (like the start of a new work week) and bigger moments (such as moving from one home to the next).
The fresh start effect offers these benefits often mentioned by psychologists:
- Mental Accounting: Dates act as chapter breaks, letting you put past failures into a previous period.
- Psychological Distance: You separate your flawed past self from your aspirational future self (“That was the old me”).
- Optimism Boost: New beginnings clear mental clutter and increase your sense of agency and control
Does this mean that “the new you” will be the perfect version you envisioned? Probably not. We are humans. But it might mean you get a chance to “leave some of the old you behind” within the walls you used to live in, and now have a chance to have a new layout, a new décor, a new color pattern, new wallpaper, donate old furniture and books or magazines, throw out clothes you no longer use or fit in, and enjoy the opportunity to literally use the, “Does this spark joy?” method that was made so popular by Marie Kondo in her Netflix series.
So, for all its hassle and headache, moving is a chance to shake off the “old you” and try on the new you, to incorporate the items you would like to keep and use more of, and shed the items, habits, and ways of thinking that you feel no longer serve you.
I can speak to the experiences that several of my clients had when they moved from a previous residence to a newer one. It usually coincided with a change in relationship status, a change in employment, a change in family size, but sometimes it just seemed to correlate to a new attitude and perspective that the client was really hoping for.
I have literally had clients come to me after the fact, in tears, that they were so happy they made the decision to move out of a situation that no longer served them, and move into one that felt like a much better fit.
Change can be annoying and overwhelming at times, but usually most people come out the other side, not wanting to return to the way they were before.
Joseph Hudson is a referral agent with RLAH. Reach him at 703-587-0597 or [email protected].
Despite a U.S. political climate that has made electric vehicles about as welcome as a vegan at a Texas barbecue, automakers haven’t gotten the memo. The 2027 BMW iX3 and Rivian R2—in showrooms soon—prove the point. But think of them as distant cousins: one arrives impeccably dressed; the other probably has a kayak strapped to the roof.
BMW iX3
$62,000
Range: Up to 434 miles
0 to 60 mph: 4.7 seconds
Cargo space: 30.4 cu. ft.
PROS: Huge driving range. Distinctive styling. Cutting-edge interior.
CONS: Quirky digital controls. Only one U.S. trim level. Pricey options.
WHAT’S NEW: This is BMW’s first production model on its state-of-the-art Neue Klasse platform, radically changing the technology, cabin and electric drivetrain.
The iX3 arrives on our shores in one trim level, the iX3 50 xDrive. Load it up with options and you can sail well past $80,000.
Depending on configuration, this luxe EV delivers an astonishing range before recharging. And a dual-motor, all-wheel-drive system produces 463 horsepower, which allows you to tootle around as fast as a Porsche 718 sportster.
The new “Panoramic iDrive” spreads information across the base of the windshield, supplemented by a central display and steering-wheel controls. An available 3D head-up display adds even more info. It’s futuristic, busy and unmistakably BMW—like someone decided the dashboard needed its own coming-out party.
Then there’s the “Heart of Joy” computer, which coordinates the motors, braking and steering for sharper responses and smoother control. The name may sound like something from a self-help retreat, but the innovation makes the iX3 seriously entertaining to drive.
You also can charge the iX3 from 10 percent to 80 percent in just 21 minutes. Nice.
This isn’t merely an electric X3 with the gasoline bits removed. It’s a tech reset for BMW. Compared with the R2, the iX3 is more polished, more luxurious…but, alas, considerably pricier.
RIVIAN R2
$45,000
Range: Up to 345 miles
0 to 60 mph: 5.9 seconds
Cargo space: 28.7 cu. ft.
PROS: Affordable luxury. Rugged looks. Clever storage.
CONS: No smartphone integration. No glass-roof shade. Touchy touchscreen.
WHAT’S NEW: Everything—the R2 is Rivian’s all-new, smaller electric SUV, and it brings the brand’s adventure-first attitude to a price point far below the larger R1S.
If the BMW iX3 is wearing a beautifully tailored jacket, the Rivian R2 has its sleeves rolled up.
With edgy styling, this is no anonymous crossover wearing an EV costume. Chunky details. Upright proportions. Distinctive lighting all give off an outdoorsy vibe without turning the R2 into a rolling REI catalog.
There are four configurations, with pricing from $45,000 to $58,000. That’s a big difference from the BMW—and potentially the R2’s biggest weapon.
The stats aren’t shabby, either. Driving range is from 275 to 345 miles. The dual-motor, all-wheel-drive setup produces between 350 horsepower and a frankly bonkers 656 horsepower. And the high-performance model lets you zip from 0-to-60 mph in just 3.6 seconds.
Drag-racing credentials? Absolutely!
Inside, there is lots of clever packaging, with flexible seating and generous storage. This EV is designed to carry actual stuff, not merely impress your neighbors.
Yes, there are quirks. Rivian skips Apple CarPlay and Android Auto, while everyday controls—some of which are less than intuitive—live on the touchscreen. And the panoramic glass roof lacks a conventional shade. Huh?
For some owners, those will be minor annoyances. For others, they’ll become daily reminders that Rivian marches to its own beat.
Perhaps that’s not a bad thing, though. The R2 feels less buttoned-up, more mischievous. It’s the automotive equivalent of Billy Porter ignoring the dress code and somehow looking better than everyone who followed it.
Advice
We’re getting married but our parents object
Will their disapproval and shortcomings derail our hopes for a happy life?
Dear Michael,
My girlfriend and I are getting married! We’re really excited, but we’ve got some big concerns as well.
All of our parents have had multiple marriages. I think 10 between the four of them. So we don’t have much in the way of role models for a successful marriage.
Also, we don’t have any parental support. Except for one of my ex-stepmothers whom I’m close to, none of our parents are happy that their daughter is getting married to another woman. That’s an understatement. Religious objections, moral objections, being angry that we’re “embarrassing them,” these are some of the things we’ve been told.
We do have some supportive siblings and step-siblings, which is great, although they’re getting pushback from parents about attending our wedding.
Given all this, what suggestions do you have for how we can make a go of our marriage? The divorce rate is over 50 percent for everyone. With all this baggage, we’re worried that we have even less of a chance. Thank you.
Michael replies:
First, congratulations!
Regarding your lack of family support: I’m sorry that you both have to deal with so much criticism, disdain, and judgment. Please don’t let your parents’ negativity influence your own views of yourselves and your relationship. Focus instead on the love and caring you will get from friends, community and the family who are present on your big day (I hope your siblings are brave enough to make it!). Being the recipients of that support is one of the sweetest parts of getting married.
Don’t worry about the high divorce rate. While some couples really shouldn’t stay married, lots of people get divorced because they don’t know what is required to have a good marriage, or don’t put in the effort to do so. That does not have to be your fate.
Similarly, your parents’ terrible track record doesn’t mean you have to repeat their marital histories. The skills to have a strong marriage are learnable.
To that end, here are the best tips I can offer the two of you:
- If you want a loving marriage, be a loving partner. Don’t snipe, sulk, or do the silent treatment when you’re mad. Unconditional love is largely a myth. Even our dogs won’t love us if we are mean to them.
- Don’t spend much time or effort focusing on what your spouse is doing wrong or how she is letting you down. Doing so leads to resentment and feeling like you’re a powerless victim. Instead, ask yourself what your own contribution is to the problem, and what you can do to make things better. You don’t have much power over your partner, but you have a lot of power over yourself.
You can certainly ask your spouse for what you’d like from her, but don’t expect to always get it. And don’t base your own wellbeing or good behavior on what your partner does or doesn’t do.
- Because any two people are always different in some important ways, there is no way that you both can always want the same things, or think the same way, or have the same priorities. Accept this! There has to be room for each of you to be an individual, not only part of a couple.
- Be generous as often as you can be, and have a boundary when it’s important for you to have one.
- When your spouse states that she has a boundary, respect it. Do not push her to back off from something that is important to her.
- Don’t keep score, including how much more you do or how often you don’t get your way. Instead, work together to have a collaborative marriage where you work together to make decisions and get things done.
- Strive not to weigh the relationship down with neediness. Once we’re grownups, it’s mainly our own job to soothe ourselves. You don’t want to burn out your partner’s empathy.
Of course you can ask for a hug, love, reassurance, support, advice, and a shoulder to cry on when you’re down. Just aim be the first person you turn to when you’re upset, and do your best to keep your own mood steady.
- Do not wait for your significant other to go first. Not on planning a date, not on apologizing, not on loading the dishwasher or cleaning the bathroom. If you wait for her to make the first move, you will have a resentful relationship where nothing good ever happens.
Keeping these principles part of your operating system, even — and especially — at those moments when your spouse isn’t doing her best, will go a long way toward helping you build and maintain a loving and happy marriage.
Michael Radkowsky, Psy.D. is a licensed psychologist who works with couples and individuals in D.C., Maryland, Virginia, New York, and all PSYPACT states. He can be found online at michaelradkowsky.com. All identifying information has been changed for reasons of confidentiality. Have a question? Send it to [email protected].
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