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Curating the canon

Feinstein keeps standards alive with passion for mid-century gems

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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

The rise of accidental landlords

How changing market conditions are impacting property management

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In a buyer’s market, many sellers are looking to rent their homes rather than reduce the sales price. (Photo by zimmytws/Bigstock)

Why are there more “accidental landlords” renting out their properties in the Washington, D.C., metro area? 

The answer, according to The New York Times and other sources, is the current state of the real estate market. A growing number of accidental landlords are emerging as homeowners rethink their options in a challenging sales market. Rather than accept lower offers than they feel their properties deserve, many are choosing to rent instead of sell. 

This shift reflects both financial caution and changing market dynamics, where holding onto an asset and generating rental income can seem more appealing than locking in a perceived loss.

A Market in Transition

The D.C. housing market remains fundamentally strong, but it has clearly shifted from the frenzied seller’s market of prior years. Inventory has increased significantly, and according to Redfin, active home listings in the Washington, D.C., metro area have increased significantly, with reports indicating a rise of roughly 33% to 50% year-over-year in late 2025 and early 2026. 

This surge in inventory, coupled with falling demand, has shifted the market in favor of buyers, with roughly 22% more homes for sale than interested buyers. At the same time, homes are taking longer to sell. Buyers are still active, but they’re more selective, more price-sensitive, and less likely to engage in bidding wars.

This combination of rising inventory and longer selling timelines has created a key tension: sellers are no longer guaranteed the price they want. What’s a homeowner to do? Rent.

Why Homeowners Are Choosing to Rent

Rather than reduce their asking price, many homeowners are choosing to hold onto their properties and rent them out. National data confirms this shift. According to a report from Zillow, the share of rental listings made up of homes that failed to sell has climbed to near-record levels, with these accidental landlords accounting for a growing portion of rental supply. The number of these homeowners nationwide is at a three-year high.

The underlying psychology is simple: most sellers are not under immediate pressure to sell. And instead of accepting what they perceive as a discounted price, they opt to generate rental income and wait for more favorable market conditions.

For many homeowners, renting offers a way to “pause” the sales process without exiting the market entirely.

The Ripple Effect on the Rental Market

This influx of accidental landlords is reshaping the rental landscape. And this could be you!

  1. This trend is increasing rental supply. When unsold homes are converted into rentals, they add inventory to a market that has already seen new apartment deliveries and multifamily expansion. This is one reason rent growth has cooled in recent months, with national increases slowing to modest levels. 
  1. Additionally, it is changing the type of available rental housing. Accidental landlords are more likely to offer single-family homes, townhouses, or condos; properties that differ from traditional apartment stock. Zillow notes that single-family homes make up the largest share of these rentals now.

For renters in D.C., this means more choices, particularly in neighborhoods where rental inventory was previously limited.

Operational Challenges for Accidental Landlords

While renting may seem like a straightforward fallback strategy, many accidental landlords quickly discover that property management is a complex, operationally intensive business. Some of the most common challenges include:

  • Tenant screening and leasing compliance. D.C. has robust tenant protections and rent control regulations, particularly for older multifamily buildings. One wrong step can create legal complications home owners are not prepared for.
  • Maintenance and repairs. Deferred maintenance can quickly erode profitability and tenant satisfaction. And tenants do have the power to cut into your monthly profit when certain livability standards are not met.
  • Cash flow management. Not all rental income covers mortgage payments, especially for owners with higher interest rates. 
  • Regulatory compliance. Licensing, inspections, and rent stabilization rules can create administrative burdens.

In short, many homeowners underestimate the complexity involved in the transition from owner-occupant to landlord. What begins as a temporary strategy can evolve into a long-term operational commitment.

Property Management Firms Are Stepping In

As a result, property management companies across the D.C. metro area are seeing increased demand, particularly from first-time landlords. These owners often lack the infrastructure, systems, and expertise required to manage a rental property effectively. Professional management firms provide an array of solutions including marketing and leasing services, tenant screening and placement, rent collection and financial reporting, maintenance coordination, and compliance with D.C.’s evolving regulatory environment. For accidental landlords, outsourcing these functions can turn a reactive decision into a more structured investment strategy.

Green Renting: A Strategic Advantage in D.C.’s Rental Market

One often overlooked opportunity for accidental landlords—especially in Washington, D.C.—is the growing demand for “green renting.”

Energy efficiency is no longer just a lifestyle preference. For many renters, particularly in a high-cost city like D.C., it is a financial decision. Utility costs in the District can be significant, especially during peak summer and winter months. Properties that offer lower monthly energy expenses immediately stand out in a competitive rental market.

Installing solar panels, where feasible, can meaningfully reduce or even offset tenant electricity costs. For renters comparing similar properties, the difference between a standard utility bill and a reduced or stabilized energy cost can be a deciding factor. This is particularly true in D.C., where tenants are often highly-informed, environmentally-conscious, and sensitive to total monthly living expenses, not just base rent.

For landlords, the benefits extend beyond tenant appeal. Solar installations can help reduce vacancy, support longer lease terms, and create a premium perception that differentiates a property from competing listings. In some cases, landlords may also benefit from local incentives, tax credits, or increased property value tied to energy improvements.

In a market where many accidental landlords are competing on similar housing stock—single-family homes, condos, and townhouses—energy efficiency can become a key differentiator. It is not just about sustainability; it is about positioning a property to perform better financially.

A Local Market With Unique Dynamics

Washington, D.C., is a housing market shaped by federal employment, policy changes, and macroeconomic uncertainty. Recent developments, including fluctuations in the federal workforce and return-to-office mandates, have influenced both housing supply and demand. In some cases, these shifts have contributed to increased listings and more cautious buyer behavior. At the same time, D.C.’s high cost of entry continues to support rental demand. This dual dynamic creates ideal conditions for the rise of accidental landlords. Are you ready for this seismic shift? 


Scott Bloom is owner and Senior Property Manager of Columbia Property Management.

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Advice

I don’t see the point in a relationship 

Life is short and I want to do whatever I want

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Going through life with a partner isn’t for everyone. (Photo by yanik88/Bigstock)

Michael,

I’m 34, and after being on the dating scene for about 12 years, I’m coming to the conclusion that I don’t want to be in a relationship. 

I don’t love hanging out with the same person over and over again. I don’t feel all gooey when I’ve been with someone for a while. I run out of things to say, and also, it just gets boring.

I like my space. I don’t like having to share the bathroom or have someone next to me all night, especially when they want to go to sleep holding me. I know that sounds like heaven to a lot of people but it just feels intrusive to me. 

It’s a pain to have to compromise what I want to do. When I want to go someplace on vacation, or try a restaurant, or get up early to go to the gym, or sleep in, I don’t want to have to run that by someone else and get their OK. Life’s short. I want to do what I want to do.

I feel like we are constantly bombarded with the message to date and find a mate, but I don’t really see the point.  I don’t think I’m an introvert—I have a lot of friends—but I also like to spend time by myself and not be accountable to anyone.

When I think about marriage, it seems like a very old-fashioned concept, developed for straight people who want to have children. Historically you needed one person to work and another one to stay home and raise the kids. And you needed to stay together to give your kids two parents and a stable home. I get that.

But if I’m not having kids, what’s the point? I don’t need a husband to have sex. I can and do hook up all the time. It’s so easy to find someone online. And I get to have a lot more variety when I’m single than when I’m dating. Even though my relationships are always open, when I am dating someone, I always hook up a lot less, because I have to worry about the boyfriend’s feelings being hurt if I hook up “too much.”

I know I sound unromantic and maybe selfish but this is how I see it.  

My friends are all about having a boyfriend. They think I’m being ridiculous. Can I get another opinion?

Michael replies:

You make great points. Relationships do require us to give up some of our independence. They can feel stifling at times. And when the excitement of a new partner fades, things will at times feel “boring” in all sorts of ways, including sex. You can choose to avoid all of this by remaining single.

But relationships also give us tremendous overlapping opportunities to grow, including:

Being pushed to develop a clear sense of self: When we must constantly decide what we are willing to do or not do as part of a couple; and when our partner inevitably and frequently has interests, values, and priorities that conflict with ours, then we are challenged, over and over, to decide what is most important to us and how we want to live our lives.

Frequent opportunities to build resilience: All those old issues from our past that get us upset or riled up? We have to work through them so that we can stay (pretty) calm rather than losing our minds when our buttons are pressed.  

Improving our ability to have hard conversations – and without rancor: Unless we’re able to disagree, speak up, or confront when it’s important to do so, we are going to twist ourselves into a pretzel striving to accommodate the other person. And being able to engage in tough talks in a loving way is necessary if we want to have a loving relationship.

Becoming a more generous person: You wrote that you like to have things your way. But part of life, whether or not we are partnered, involves being thoughtful, considerate, and willing to put someone else first at times. Great relationships require us to do all of these things regularly—and many of us find that contributing to the happiness of someone we care about can increase our own happiness.

Besides these ongoing challenges, relationships give us the experience of someone knowing us deeply, and knowing someone deeply.  There can be great comfort in going through life with someone with whom we have this intimate connection, along with ongoing shared experiences of trust, support, comfort, and love. Long-term companionship is also an adventure: Can we keep the relationship vibrant and fun as we both keep changing over time? 

If you choose to remain single: Many people play their friendships on the easy setting, keeping things pleasant, on-the-surface, and non-confrontational; and cutting people off when things aren’t going well. Hanging in there to deal with the rough stuff can lead to deeper, longer friendships, and plenty of personal growth.

I do have a question for you: I am curious what sort of relationships you saw growing up, and what your own relationship experiences have been.  

Intimate relationships aren’t for everyone, and you get to decide what is right for you. But if your negative view of relationships is influenced by having witnessed or experienced intrusive or just plain awful relationships, maybe you want to do some work (therapy, for example) to heal from this stuff, rather than letting your past limit your future. A healthy relationship means being part of a couple while also remaining a vibrant individual, not being stifled, bored, and losing your independence.  

(Michael Radkowsky, Psy.D. is a licensed psychologist who works with couples and individuals in D.C., Maryland, Virginia, and New York. 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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Autos

Wagons ho! High-class, head-turning haulers

Automakers still offer a few good traditional station wagons

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2026 Volvo V60 Cross Country

As a teenager, one of the first cars I drove — and fell in love with — was our family’s hulking full-size wagon. It stretched over 19 feet in length and weighed a whopping 5,300 pounds. That’s three feet longer and 1,000 heavier than, say, a Ford Explorer today. 

But this Leviathan felt safe and practical, especially when tootling around town with my crew or traveling solo cross-country. Of course, this hauler was also an eco-disaster. 

Luckily, that’s not the case today. And even though the number of traditional station wagons keeps shrinking, automakers are still offering a few gems.    

VOLVO V60 CROSS COUNTRY

$54,000

MPG: 23 city/31 highway

0 to 60 mph: 6.6 seconds

Cargo space: 51 cu. ft. (rear seats folded)

PROS: Elegant design. Composed handling. Top safety features.

CONS: So-so power. Modest rear legroom. Only two trim levels.    

The 2026 Volvo V60 Cross Country doesn’t cry for attention — and that’s the point. This is the automotive equivalent of Kristen Stewart, a celebrity who’s confident in her own skin and sees no need to post about it. 

Under the hood, there’s a four-cylinder turbo engine paired with a mild-hybrid system, producing 247 horsepower. You won’t outrun other drivers, but there is a sense of calm authority when accelerating. The standard all-wheel drive and 8.1 inches of ground clearance mean this wagon is ready for dirt roads, bad weather or a spontaneous weekend jaunt. 

And inside? Scandinavian minimalism at its finest. Clean lines. Gorgeous materials. Google-based infotainment that mostly works — though occasionally the system could be a bit faster, at least for my taste. The ride is smooth, composed and quiet, even if acceleration feels more “measured sip” than “espresso shot.” 

But here’s the twist: After more than a decade, this is the final Volvo wagon in the U.S. Its farewell tour ends in 2026. That alone gives it collector-car status.

MERCEDES-AMG E53 WAGON

$95,000

MPG: 21 city/25 highway

0 to 60 mph: 3.4 seconds

Cargo space: 64.6 cu. ft. (rear seats folded)

PROS: Supercar vibe. Hybrid versatility. Stunning interior.

CONS: Some fussy controls. Can feel heavy when cornering.    

If the Volvo V60 Cross Country is subtle, the 2026 Mercedes-AMG E53 Wagon is a screamer. It’s like being at a Lil Nas X concert: flashy, high energy, and full of shock and awe.  

This performance wagon — a plug-in hybrid, no less — pushes well over 500 horsepower (and in some configurations over 600 horsepower), launching from 0 to 60 mph as fast as a $300,000 Aston Martin supercar.

Yes, deep down, this is still a wagon. But you also can do a Costco run in something that could embarrass sports cars at a stoplight. That duality is delicious.

Inside, Mercedes leans all the way in. The high-tech Superscreen setup stretches across the dash. Ambient lighting glows like a curated art installation. The 4D surround-sound audio literally pulses through the seats. It’s immersive. Borderline excessive. And entirely the point.

Rear-axle steering helps mask the size of this car, but there’s no hiding the weight — it’s a big, powerful machine. Still, this hauler handles far better than physics suggests it should.

PORSCHE TAYCAN CROSS TURISMO

$121,000

Range: 265 miles

0 to 60 mph: 2.8 seconds

Cargo space: 41 cu. ft. (rear seats folded)

PROS: Lightning fast. Space-age design. EV smoothness.

CONS: Very pricey. Options add up quickly. Limited rear visibility.    

The Porsche Taycan Cross Turismo completely rewrites the wagon formula. Fully electric. Shockingly fast. Designed like it belongs in the Louvre.

Performance is instant. Depending on trim level, you’re looking at 0-to-60 mph in less than 3 seconds. No exuberant engine noise — just that smooth, purring EV surge.

Handling? Pure Porsche. Low center of gravity thanks to the battery-pack placement. Precision that makes winding roads feel like choreography. And then — hello — there’s also a Gravel Mode for light off-road use.

Inside, the style is restrained but high-tech. Digital displays dominate, including a 10.3-inch passenger side touchscreen. Yet the layout feels intentional rather than overwhelming. Build quality is exceptional. Options, including leather-free materials and an active-leveling system for hard cornering, are endless — and expensive.

Range varies by model. But as with any EV, your lifestyle (and charging access) matters. 

Overall, this is a wagon that looks and behaves like one helluva class act.

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