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.
Real Estate
‘Culture eats strategy for breakfast’
Real estate agents must adapt, learn how to manage from within
“Culture Eats Strategy for Breakfast” was a phrase often repeated in many of my management courses from the University of Illinois. The concept was discussed at length – how the best laid plans can sometimes be supported or derailed by the culture of the people involved in whichever project to be implemented. Whether it be a project to implement new software, roll out a new product or service, or just reaching a sales target, the way the team involved works together can indeed affect the outcome.
Perhaps this is just another way to say, “teamwork makes the dream work!” Most teams usually have someone who is designated as a leader. The leader can try to lead through authority and control or can alternatively try to lead through influence and encouraging a more collective framework for solving problems.
Why does this matter when picking the right real estate agent or team to work with? Besides having a job as a salesperson for the brokerage, the real estate agent is contractually bound to act on their client’s behalf. The buyer broker agreement is in place so that the agent and the client can work together as a team in communications regarding offer strategy, during negotiations, implementing marketing plans, as well as selecting which renovations or upgrades to choose before selling a property. After the property goes under contract, the job isn’t “done”. There is still work to do.
At this point, the agents then turn into a project manager of sorts – coordinating communications between the lending team, the title attorneys, the other client’s agents, any governmental agencies that could be involved in down payment assistance or helping to clear a property for a sale, and often times groups like a condo board, a home inspector, or contractors when arranging repairs and estimates before a final walk through.
In short, the agent takes on somewhat of a “leadership role” in the transaction and ensures that all the ducks stay in a row until the project is complete. That agent will hopefully be very fluid and forthcoming with their information, copying the required parties on all communications and creating a “paper trail” of who said what or didn’t offer to fix A, B, or C, so that all the minutiae of the contract can be addressed and fulfilled before the settlement date. The agent often must wear many hats and quickly learn the communication styles of an entire new set of people in a short period. One person may not return calls for a week after being contacted. Another person may go on vacation at the beginning of the process and not return emails for two weeks. Another person may wish to have daily updates of the progress of the process.
In this way – an agent quickly learns in each transaction that “culture can eat strategy for breakfast.” Because the agent must adapt to a wide variety of communication styles, learn how to “manage from within”, build support for closing the project by the due date, and somehow keep all the interested parties invested, engaged, and responsive.
Who you work with matters when picking the right person to represent you in your next transaction – so, just remember that “teamwork makes the dream work!”
Joseph Hudson is a referral agent with RLAH. Reach him at 703-587-0597 or [email protected].
Dear Michael,
I’ve been dating Mark for three years, living together for two, and I’m not sure he’s for me. We get along great but I’m questioning how attracted I am to him.
I was never crazy about him physically but he was such a sweet and smart guy that I wanted to date him.
Sex was never mind-blowing and the longer we’ve been together the more this is bothering me. I wonder if I could find someone who appeals to me more, physically.
On the plus side, I like him a lot. He has good values, shares my religious faith, which is hard to find in another gay guy, is responsible and has a good work ethic. Also, I just have fun with him and he’s always interested to hear what’s on my mind. He’s an all-around decent guy.
As I’m writing this, I’m thinking that he seems great and that I’m a fool for even questioning our relationship. But all my friends are always talking about the amazing sex they are having, and then I think I’m missing out on a key part of life because my sex life is comparatively lackluster.
I don’t want to settle. But how likely am I to find another guy who is as all-around a good catch as Mark, but with more sexual chemistry?
Michael replies:
I don’t think the right approach is to wonder about your chances for of finding someone better. Anyone you find will have things you aren’t crazy about.
For example, you might find someone whom you’re wildly attracted to sexually, but they’ll bore you or annoy you, or have values you don’t respect.
I understand that you aren’t wildly sexually attracted to Mark. The truth is that it’s extremely unlikely that you would remain wildly sexually attracted to anyone for that long. People tend to get used to each other over time. Sex can remain great, but more from closeness and love than heat and sizzle.
I work with people all the time who wonder if there is someone “better” out there. And I tell them, they’re never going to get through all the possibilities before they die. Instead, how about thinking if the guy you are with is someone you’d like to go with on this journey through life?
Mark’s attributes that you mention sound wonderful to me. After more than 30 years working with folks on relationships, and being in my own 30+ year relationship, I have learned a thing or two about what creates a relationship that is satisfying and good. A decent, kind guy with admirable values is an excellent start.
The question is, can you live with your sex life not being on an orgasmically hot mind-blowing level? I hope the answer is yes, because sex with anyone you pick is not likely to stay in that sort of realm for long.
Another point to consider: I don’t think you should get too caught up in what your friends are telling you. They may be having amazing sex, but are they all having it with the same long-term partner? As I mentioned, long-term sex can be great, but the excitement tends to be replaced by caring connection over time.
I’ll generalize here for a moment: Because so many gay men have many sexual partners, the kind of sex you have with someone new, whom you’re tremendously attracted to, tends to be glorified among gay men as the gold standard of sex. But it’s not realistic for sex with a long-term partner.
This glorification is a big problem: It leaves gay men who are not having torrid sex with lots of guys feeling like there is something wrong with the sex they are having, that they are missing out on something super fantastic. Just like you are feeling.
If you want a lifetime of ongoing hot sex, I don’t think you should be looking for a relationship. If you are willing to accept sex being a not-always fantastic, but perhaps consistently loving, often good, and occasionally great part of life with a kind decent guy, then Mark might just be the right partner for you after all.
(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 at michaelradkowsky.com. All identifying information has been changed for reasons of confidentiality. Have a question? Send it to [email protected].)
Real Estate
Does Pride decor resemble Trump’s design aesthetic?
Glitter, gold, and rejecting the idea that a home should be understated
Interior design is often a balancing act between taste, personality, and restraint. Sometimes, however, restraint leaves the building entirely. Such is the case when the colorful exuberance of gay Pride-inspired decorating collides with the famously excessive decorating style associated with the current occupant of the White House. The result can be a fascinating study in maximalism, spectacle, and unapologetic visual overload.
Donald Trump’s personal decorating style has long been a subject of debate among designers and critics. Admirers see luxury and grandeur. Critics see something else: a dizzying display of gold leaf, marble, mirrors, crystal, and oversized furnishings that often crosses the line from elegant into what many designers would call tacky. More is rarely enough. If one chandelier sparkles, three are better. If a room has gold accents, why not make every available surface gold? (See Oval Office and ballroom rendition for details.)
In many ways, this excess shares common ground with certain Pride celebrations. Pride has never been about blending into the background. It celebrates visibility, self-expression, individuality, and joy. Rainbow colors, dramatic costumes, glitter, flamboyant artwork, and bold statements have long been part of Pride culture. Yet there is an important difference. Pride’s extravagance is often playful, self-aware, and rooted in personal expression, while Trump’s aesthetic has frequently been criticized for equating luxury with sheer quantity and visual intensity.
Combining these influences creates an interior that could best be described as “glamorous chaos.”
Imagine entering a living room in which gold-trimmed mirrors stretch from floor to ceiling. Crystal chandeliers hang above a bright rainbow velvet sectional. Marble floors gleam beneath metallic furniture that appears determined to reflect every available light source. Pride flags become framed artwork surrounded by ornate gold moldings. A room designed this way doesn’t whisper. It shouts.
Color is central to the concept. Pride-inspired interiors often embrace the full spectrum of colors. Trump’s style, meanwhile, traditionally favors cream, gold, black, and glossy finishes. Combining them means introducing vivid jewel tones against a backdrop of faux-palatial luxury. Emerald green chairs, ruby-red draperies, sapphire-blue accent walls, and gold-trimmed furniture can coexist in a way that feels deliberately theatrical.
The key word is theatrical.
Many professional designers spend years learning how to create visual balance. A Pride-meets-Trump interior intentionally ignores many of those rules. Pattern competes with pattern. Shine competes with shine. Artwork competes with furniture. The eye rarely gets a chance to rest. For some homeowners, that sounds exhausting. For others, it sounds like the perfect party.
Lighting offers another opportunity to embrace excess. Crystal chandeliers, mirrored lamps, illuminated shelves, and color-changing LED lighting can transform a room into something resembling a cross between a luxury hotel lobby and a Pride festival. The goal is not subtlety. The goal is spectacle.
A dining room inspired by this combination might feature a massive glass table, gold dining chairs, rainbow floral arrangements, mirrored walls, and enough crystal accessories to keep a polishing cloth busy year-round. Critics would call it gaudy. Fans would call it fabulous.
Artwork becomes particularly important. Pride-themed pieces featuring LGBTQ+ history, activism, and culture can provide meaning beneath the decorative excess. Without these personal and cultural elements, the room risks becoming little more than a collection of expensive looking, but not necessarily expensive, objects. Pride design can work best when it reflects identity and community rather than simply displaying color for color’s sake.
While normally a haven for restful sleep, bedrooms can take a similar approach. Plush velvet fabrics, oversized tufted headboards, metallic and mirrored finishes, colorful accent lighting, and dramatic artwork create a space that feels more like a boutique hotel suite than a traditional bedroom. Again, the challenge is avoiding the temptation to add one more decorative element to an already crowded visual landscape.
What makes this design combination interesting is that both aesthetics reject the idea that a home should be understated. Both embrace visibility. Both invite attention. Both encourage occupants to take up space unapologetically. Yet where Pride design often celebrates authenticity and self-expression, Trump’s decorating style is frequently criticized for prioritizing conspicuous luxury over cohesion and refinement.
The result is an interior style that many people would consider delightfully outrageous and others would consider a decorating nightmare. Either way, nobody is likely to forget it.
In the end, a Pride-inspired interpretation of Donald Trump’s famously over-the-top aesthetic would be colorful, glittering, excessive, and impossible to ignore. It would break nearly every rule of minimalist design while embracing the philosophy that if something is worth doing, it is worth overdoing. Whether one sees that as fabulous or tacky may depend entirely on how much gold leaf and rainbow velvet one can tolerate in a single room.
Valerie M. Blake is a licensed associate broker in D.C., Maryland, and Virginia with RLAH @properties. Call or text her at 202-246-8602, email her at [email protected] or follow her on Facebook at TheRealst8ofAffairs.
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